by Colin Thomas | Feb 23, 2018 | Review
In An Almost Holy Picture, Samuel Gentle delivers a monologue about his relationship with his daughter Ariel. Samuel is such a bad parent that I wanted to stab him. To make matters worse, he is a bad parent in a very obvious way. The moral of the story and the action...
by Colin Thomas | Feb 23, 2018 | Review
It’s fine. It’s okay. It’s kind of charming. But that’s not enough. In Pss Pss, Swiss artists Camilla Pessi and Simone Fassari play mute clown characters who meet, struggle for possession of an apple, and, through increasingly challenging acrobatics, end up on a...
by Colin Thomas | Feb 21, 2018 | Review
It’s subtle, which is great. It’s queer, which is welcome. It’s also narratively unsurprising. But it’s still the best show in town. The musical Fun Home is based on Alison Bechdel’s graphic memoir, Fun Home: A Family Tragicomic. In both, Bechdel, who is lesbian,...
by Colin Thomas | Feb 10, 2018 | Review
The cast is talented and the production is musically precise, but Next to Normal is not a well-built musical—despite having won the Pulitzer Prize for Drama in 2010. Act 1 is mostly boring because the protagonist, a housewife named Diana who has bipolar disorder with...
by Colin Thomas | Feb 9, 2018 | Review
No Foreigners is extremely stylish. Unfortunately, that style is rarely theatrical. No Foreigners is a kind of fairytale, digitally told. In it, a young Chinese-Canadian man finds out that he can inherit his grandfather’s wealth, but only if he can tell the executor...
