by Colin Thomas | Sep 8, 2025 | Review
The two sections of Plan V are so distinct they might as well be different scripts. The shorter one works. In the longer, opening section of her solo show, Eleanor O’Brien takes on the persona of Mama V, a pink-track-suited proselytizer in the revolutionary Pussy...
by Colin Thomas | Sep 8, 2025 | Review
Peak experience. Really. Tymisha Harris’s A Cabaret of Legends had me in tears. Harris’s voice is so rich and pitch-perfect, it feels surreal sometimes that she’s singing live. A celebration of Black female singers, A Cabaret of Legends overflows with substance....
by Colin Thomas | Sep 7, 2025 | Review
You preach, brother! The premise of Jean-Daniel Ó Donncada’s solo show is that we’re attending a meeting of the St. Steven’s Youth Group. It’s led by Ó Donncada, a real-life Presbyterian minister, who’s also very smart and very funny. At one point, Ó Donncada shows a...
by Colin Thomas | Sep 7, 2025 | Review
You’ve got to love a whodunnit in which the who is capitalism. In Fourth Avenue (Brooklyn), which is being performed by co-creators Emily Louise Perkins and Moti Margolin, a guy named Boris is being interrogated because he’s suspected of murdering the...
by Colin Thomas | Sep 7, 2025 | Review
Lou Laurence, who wrote this piece and is performing it, has charm to burn and an appealingly deep and raspy singing voice. Overall, though, Love, Sharks & Frenching is only intermittently engaging. The premise is that Laurence is conducting a scientific...
by Colin Thomas | Sep 6, 2025 | Review
One of the first notes I wrote was, “This actor is not relaxed.” Two short pages later I wrote, “The characterization of the grandma is the best.” That second note marked the beginning of a theatrical seduction. In The Biscuiteater, writer and solo performer Jim...
