by Colin Thomas | Feb 21, 2018 | Review
It’s subtle, which is great. It’s queer, which is welcome. It’s 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...
by Colin Thomas | Feb 8, 2018 | Review
It’s easy to see why Thornton Wilder’s The Skin of Our Teeth was hailed as a great work when it premiered in 1942. And it’s easy to see why director Sarah Rodgers would choose to stage it in 2018. But that doesn’t mean it’s worth watching for two and a half hours. The...
by Colin Thomas | Feb 4, 2018 | Review
War is fought on women’s bodies. That truth is at the heart of Lynn Nottage’s Ruined. Nottage sets Ruined during the war in Congo, which was officially over in 2002 but continues to rage. The action unfolds in Mama Nadi’s roadside canteen and brothel. Government and...
