by Colin Thomas | Jul 19, 2026 | Review
Kate Besworth’s treatment of Antigone by Sophocles is more than an adaptation, it’s a substantial rewrite. And it has its strengths: Besworth’s script is trim and it knows what it wants to do; several original scenes resonate and the complete reimagination of one of...
by Colin Thomas | Jul 13, 2026 | Review
Hmm. When I saw Goblin: Macbeth at Bard on the Beach in 2023, I pretty much hated it: “The goblin element is never outrageous, it’s rarely funny, and Shakespeare’s text is wasted.” I was not a fan of the rigid latex masks the actors wore. But I saw Goblin: Oedipus...
by Colin Thomas | Jul 12, 2026 | Review
It’s a pleasure to sit in the company of such a thematically, artistically, and emotionally large and ambitious work of art. Director Chris Lam’s mounting of A Streetcar Named Desire for the Ensemble Theatre Company isn’t perfect, but it’s certainly rich enough to...
by Colin Thomas | Jul 11, 2026 | Review
There you go. This is what we want from Theatre Under the Stars: an embraceable musical gorgeously produced. Unlike Sister Act, the other offering from TUTS this summer, The Little Mermaid has a score full of lyrically and rhythmically engaging songs, and a...
by Colin Thomas | Jul 10, 2026 | Review
The music in Sister Act is a generic mix of disco, soul, and gospel, and the book is so thin you can see through it but, in this production for Theatre Under the Stars, director Peter Jorgensen has done an excellent job of shining up this inferior material. The 2006...
