by Colin Thomas | May 12, 2025 | Review
Here we go. Where to start? I watched this production three times over a 25-hour period. Here We Go is a short one-act (in three parts) by British playwright Caryl Churchill — about 45 minutes in total. Churchill is one of the smartest playwrights I’ve encountered,...
by Colin Thomas | May 3, 2025 | Review
In Act 1 of The Frontliners, playwright Zahida Rahemtulla’s storytelling is so unfocused it feels like nothing happens. Against all odds, Act 2 improves. The Frontliners is about an office force of three. Working for the fictional Canadian Newcomer Agency, their job...
by Colin Thomas | May 2, 2025 | Review
A strange thing is happening to what is, to me, recent gay history: it’s being made holy. I’m thinking of director Joe Mantello’s TV version of playwright Mart Crowley’s 1968 script, The Boys in the Band, for instance. Mantello’s interpretation is an endless parade of...
by Colin Thomas | Apr 28, 2025 | Review
It’s hard to overcome such inane material, but this production of 9 to 5: The Musical boasts three strong leads. This musical is, of course, based on the 1980 film, which grew out of an idea by Jane Fonda, and starred Fonda, Lily Tomlin, and Dolly Parton in her first...
by Colin Thomas | Apr 26, 2025 | Review
The Search Party’s production of Dance Nation didn’t leave any residue, it didn’t leave a mark on me, which is disappointing. In an essential way, the world of Clare Barron’s script is a perfect fit for the themes she sets out to explore. She introduces us to a group...
by Colin Thomas | Apr 19, 2025 | Review
Jane Austen’s novels are known for their wry wit and nuanced observation of gender and class among the landed English gentry in the late eighteenth century. Kate Hamill’s stage adaptation of Austen’s Pride and Prejudice is more like… a cartoon? A panto? A very long...
