by Colin Thomas | Sep 24, 2023 | Review
The script is so bad. There are some okay elements in this production, but … have I mentioned how bad the script is? In The Last Wife, playwright Kate Hennig imagines the relationship between Henry VIII and his sixth wife, Catherine Parr, the only spouse who outlived...
by Colin Thomas | Sep 16, 2023 | Review
This is my fifth draft of this review. Previous drafts have started with “Free the bimbo!” and “This production could accurately be renamed Little Shop of Crippling Good Intentions.” Overall, I don’t think the production succeeds. But I’m out of snappy ledes, so let’s...
by Colin Thomas | Sep 11, 2023 | Review
Some of the dance works well in Generic Male. Much of the other material doesn’t. The two-hander starts off weakly. There’s some audience involvement, only some of which makes sense, followed a bit later by an extended scripted section in which the two performers,...
by Colin Thomas | Sep 11, 2023 | Review
I was hoping for an audacious and insightful show about death. What I got was a glib and offensive show about death. In Let’s Talk About Your Death, writer/performer David Johnston plays two characters: Barry, who is the floor manager at the taping of a TV show about...
by Colin Thomas | Sep 10, 2023 | Review
A lucky mistake: I booked tickets to Larry, Candice Roberts’s solo clown show, thinking, for no good reason, that it was going to be a different Larry than I’d seen her do four years ago, even though it has the same title. Okay, okay, I’m a dope. It’s the same show,...
by Colin Thomas | Sep 10, 2023 | Review
For about the first third of Crying in Public, which is a uniquely humble, autobiographical stand-up routine, I was so into it. Writer/performer Gina Harms’s stage persona is a self-effacing, small-town nerd girl. Harms confesses that, growing up, she wasn’t really...
