This adaptation gets saccharine, missing an opportunity to explore the weighty issues it fleetingly brings up.
Deft staging and actors with impressive range pull disparate stories and a frenetic pace into a cohesive, satisfying Pericles.
When a play about genocide features a Mark Twain impersonator, you know you're in store for something bad.
The last two entries in Richard Nelson’s Apple Family Cycle are quiet but resonant.
A kicky, colorful Carmen Miranda bio shows off Pointless Theatre Company's strongest assets.
Two creator-performers gin up arguments and tension onstage, sometimes to middling effect.