Lucia Frangione and Robert Salvador blur the line between spirituality and Eros in Espresso.
Every time I describe Lucia Frangione’s Espresso to friends, I cry. The play is a moving exploration of spirituality, Eros—and healing. Go see it.
You can skip Cirque du Soleil’s Totem, which contains some stunning acts, but also some stunningly stupid racial politics and too many boring bits.
And, although Spamalot features some excellent performances—hello Josh Epstein and Jonathan Winsby—the material mostly sucks.
So this weekend, the choice is clear: go see what Christianity looks like when’s it’s truly compassionate—as opposed to when it’s pretending to be compassionate.
