by Colin Thomas | Nov 3, 2018 | Review
Aaron Bushkowsky’s new script Red Birds is flat-out dumb and—very occasionally—funny. It’s tricky to talk about this play without giving away major plot points, but I’ll do my best. In Red Birds, Carol, who has just turned 50, contacts her birth mother Hannah for the...
by Colin Thomas | Nov 1, 2018 | Review
The Believers Are But Brothers is about the internet and it’s like the internet: it’s bursting with information and I’m not sure how to make sense of it, but I find it really fucking stimulating. In The Believers Are But Brothers—the title comes from the Quran—writer...
by Colin Thomas | Oct 31, 2018 | Review
Backbone made me really, really happy in my body. Another way of saying that is that, for about the first ten minutes of the show, I was moaning and gasping and—let’s face it—talking as if I was having sex with the entire company of ten acrobats and two musicians....
by Colin Thomas | Oct 27, 2018 | Review
Sex With Strangers is boring. (Now there’s a sentence I never thought I’d write.) In Laura Eason’s drama, 39-year-old Olivia is holed up in a writers’ retreat/B & B in Michigan when 28-year-old Ethan bursts out of the snow and through the door. Olivia is a...
by Colin Thomas | Oct 26, 2018 | Review
This script landed on the stage before it was ready. It’s in terrible shape. In The Ones We Leave Behind, playwright Loretta Seto explores abandonment and belonging. On one of her first cases as a public trustee, Abby has to find anybody who might be related to...
