by Colin Thomas | Jul 20, 2018 | Review
It’s perfect. I’ve never seen a more seamlessly well-produced show at Theatre Under the Stars. The musical itself isn’t the greatest, although it’s friendly and serviceable. Richard Rodgers and Oscar Hammerstein II wrote Cinderella for television in 1957—when it...
by Colin Thomas | Jul 19, 2018 | Review
Yes, 42ndStreet will give you goosebumps—it gave me goosebumps—but that’s because it’s manipulating the heck out of you. In the book, which was written by Michael Stewart and Michael Bramble, it’s 1933. Peggy Sawyer, who has just stepped off the bus from Allentown,...
by Colin Thomas | Jul 17, 2018 | Review
At the 2018 Jessie Richardson Awards, which took place in the Bard on the Beach mainstage tent for the first time this year, the juries heavily favoured three companies: Rumble, the Arts Club, and Green Thumb. There are three main categories at the Jessie Awards:...
by Colin Thomas | Jul 14, 2018 | Review
Let’s all just agree to see everything that Lois Anderson directs from now on, okay? Two years ago, her reinvention of Pericles for Bard on the Beach was a revelation. And this year she has brought us a Lysistrata that’s so fresh I feel younger after seeing it....
by Colin Thomas | Jul 11, 2018 | Review
As a script, Timon of Athens has problems. Director Meg Roe’s production for Bard on the Beach doesn’t help it out. There are good reasons why Timon doesn’t enjoy a lot of productions. The play, which Shakespeare probably co-wrote with Thomas Middleton, features a...
by Colin Thomas | Jun 29, 2018 | Review
Pearle Harbour’s Chautauquais like a revival meeting for liberals—and a lot of us could use reviving these days. Chautauquas were a kind of tent meeting popular in the late nineteenth and early twentieth centuries that offered a combination of entertainment and...
