ONE of the many subjects explored in Dangerous House — rising star Jen Silverman’s new play, marking her return to the Williamstown Theatre Festival after last summer’s superior two-hander The Roommate — could serve as a potent enzyme to catalyze a compelling drama.
Write All Nite’s been all quiet on the news front of late.
You may have noticed in my belated recap of the 2017-2018 Broadway season a severe lack of love for The Band’s Visit, the consensus pick for the best new musical of the year.
Like the best musical theatre composers, Jason Robert Brown externalizes the minutest — though no less significant — inner emotions, bringing them to the fore through soaring songs whose elevated registers match the extremity of the dissected feelings.
The Royal Court’s here, and these Brits have some things to say, mostly damning, about men.
Radio plays are back, baby!
Unlike a lot of other aspiring journalists with moral idealism coursing through their fingers, I usually don’t like to criticize the work of elder scribes.
Continue reading “Suddenly, Seymour is Here to Provide You Sweet Misunderstanding”
Every time I see a one-person play, it’s hard not to evaluate the form as a whole through the prism of each individual take on it.
Write All Nite 