All-in all, “The Book of Mormon” is blessed with a tight-knit, energetic and highly skilled cast – and when combined with the expert work of the musicians and behind-the-scenes technical craftspeople, the result is one heck of a fine and entertaining show.
Playwright Andron lays it on pretty thick in “White’s Lies,” which is something like a French romantic farce with 35 percent less door-slamming.
Importantly, it’s worth noting that good watching is not always easy watching: There is more strong language and vulgarity here than in your typical Hilberry production.
It is a sad but satisfying portrait of four generations of dysfunctional family, underscored by the symbolic gloomy weather that each of them suffers under.
At the Ringwald, sit back with the assurance that the artists think the source material is as tacky as you do.
Those of us who are passionate about our politics, but don’t fit in the one-dimensional spectrum between “red” and “blue” don’t need superficial debates to appreciate playwright Stephen Padilla’s cautionary theme.
The word in question is “folle,” as in “La Cage aux Folles,” the award-winning musical beginning a run at the Fisher Theatre.
“50 States of Grey” is a swift poke in the ribs of the body politic.
The well-designed program cover for the production issues this warning: “Contains nudity, violence, and adult situations.”
In times like these, when so many are out of work, “Billy Elliot” hits some unfortunately all-too-familiar notes while also gently breaking your heart