by Colin Thomas | Jan 25, 2018 | Review
Big chunks of this play about African-American despair are boring. Said the white critic. In Suzan-Lori Parks’s Topdog/Underdog, brothers Lincoln and Booth—their father gave them their names as a joke—share a single room. The toilet is down the hall. There is no...
by Colin Thomas | Jan 20, 2018 | Review
Reassembled, Slightly Askew provoked one of the most intense theatrical experiences I’ve had: deeply disorienting, often frightening. Was it worth it? Probably. Written and produced by Shannon Yee, Reassembled, Slightly Askew explores Yee’s experience of acquired...
by Colin Thomas | Jan 19, 2018 | Review
I suspect that, on some level, many liberal Westerners are experiencing a more or less perpetual state of grief and dread. Donald Trump is in the White House. Institutions including the press and democracy itself are being eroded. On the political right wing and on...
by Colin Thomas | Jan 17, 2018 | Review
It gets better. And I don’t mean that in the Dan Savage your-miserable-queer-adolescence-can-turn-into-a-happy-queer-adulthood sense. I mean Black Boys starts haltingly but hits a solid and satisfying groove. In Black Boys, three men explore what it means to them to...
by Colin Thomas | Jan 14, 2018 | Review
Above the Hospital is kind of like a rummage sale: there are treasures on offer, but you’ve got to sift through some junk to get to them. This new script, which was written and directed by Beau Han Bridge, is about the confusion and despondency some millennials seem...
by Colin Thomas | Jan 11, 2018 | Review
Hot Brown Honey is a spectacularly well designed feminist pep rally. Over a span of 75 minutes, six Australian women of colour take on sexism, racism, and colonialism one vaudevillian act at a time. Tristan Shelly’s set is phenomenal. It’s shaped like a beehive with...
