What does survival demand of those who return—and of those who helped bring them home?
‘Aphasia’ begins with an act of listening.
‘The Bald Soprano’ begins with the reassuring familiarity of a British couple chatting at home—and then gleefully dismantles every expectation.
Press describes itself as “a production company against apathy,” and its staging of Myles Keogh’s ‘Wolf!’ delivers on that mission with unnerving force.
In ‘The Ask’, the deepest divide is not between left and right, but within the left itself.
What if dogs could finally tell us what they think of us?
‘Thomas & Me’ succeeds because Thomas Ellenson refuses to let cerebral palsy define either his life or his art.
Can mediums truly speak with the dead, or are they con artists preying on the grieving at their most vulnerable?
The end of the world is no obstacle to a good argument. From Medea to Macbeth to Maybe Happy Ending, plays have long distilled large ideas into memorable warnings: a discarded wife may seek revenge, witches make disastrous career advisers, and even helper robots have feelings.
Frank Sinatra was far more than the swaggering leader of the “Rat Pack” or the unmistakable voice behind “New York, New York.” He helped elevate popular music into an art form. As Eric Comstock, co-creator and performer of Our Sinatra: a Musical Celebration, observes, “No one did more to make pop music an art form.” This lively production proves his point.
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