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...
by Colin Thomas | Oct 25, 2018 | Review
It takes too long for the plot to hit the fan. Playwright Lynn Nottage has set Sweat in a working-class bar in Reading, Pennsylvania. A local steel-manufacturing plant defines the lives of everybody associated with the place. The central trio of women—Cynthia, Tracey,...
by Colin Thomas | Oct 21, 2018 | Review
This is a guest review by David Johnston * It begins by throwing the audience to the wolves. We are thrust unceremoniously into a gaggle of chattering teenage girls in identical soccer jerseys. They’re stretching for a match, but that’s only discernable...
by Colin Thomas | Oct 19, 2018 | Review
This is a guest review by David Johnston * Kill Me Now is a play that’s smart enough to pretend to be the boring version of itself for awhile. That’s a rather complicated compliment, so let’s break it down. We open with single father Jake Sturdy (Bob...
by Colin Thomas | Oct 13, 2018 | Review
Watching this production of Sweeney Todd: The Demon Barber of Fleet Street, I felt ridiculously lucky. The show is so strong and its storefront location in Gastown so intimate that I felt like a cast of stars had shown up in my living room to perform a masterpiece....
