by Colin Thomas | Sep 7, 2024 | Review
I wasn’t having nearly as much fun as many of the folks around me seemed to be having. The premise of this offering from the duo called Brunch is that they’re performing sketch comedy — in 1424 — so most of the jokes are anachronisms and some of them are pretty good....
by Colin Thomas | Sep 6, 2024 | Review
Jimmy Hogg is a master. And yes, I do mean that in a mildly kinky — and entirely pleasurable — way. Hogg’s delivery in the stand-up/storytelling of The Potato King is almost furiously energetic. He rants, he yells. He gets your attention. And he goes on hilariously...
by Colin Thomas | Sep 6, 2024 | Review
I wasn’t dazzled, but I was absolutely never bored. Everybody Knows held me, so that’s a win. In her solo show, Rita Sheena dances to the recorded songs of Leonard Cohen, as they’re performed by the Swedish duo First Aid Kit. The implicit narrative moves from struggle...
by Colin Thomas | Sep 6, 2024 | Review
You’d think Charla Hathaway’s autobiographical solo show about becoming a sex worker at 55 would be surprising or audacious, but it’s not; it’s mundanely instructive. Hathaway makes legitimate points, the central one being about the importance of women claiming their...
by Colin Thomas | Aug 10, 2024 | Review
This production is so much better than it was when I saw it on its second night way back in June — and that’s a triumph for the actors. I returned to this show primarily because I wanted to see Camille Legg’s Viola. Just before Twelfth Night opened at Bard on the...
by Colin Thomas | Jul 30, 2024 | Review
This production is so unlikely and, in many ways, so successful. In her adaptation, writer and director Estelle Shook uses the Chekhov farces The Bear and The Proposal to explore the historical relationships between Indigenous and settler characters in the North...
