George and Martha — Sad, Sad, Sad

George and Martha — Sad, Sad, Sad

The booze and barbs flow in Shotgun’s stylized new take on Virginia Woolf. 

Read my review in the East Bay Times and Mercury News. Read more

Soup Kitchen Confidential

Soup Kitchen Confidential

Shotgun cooks up redemption in soup kitchen drama Grand Concourse.

My review is in the East Bay Times and Mercury News. Read more

Bun in the Oven, Fire in the Loins

Bun in the Oven, Fire in the Loins

Shotgun Players gets uncomfortable with Penelope Skinner’s The Village Bike. 

Read my review in the East Bay Times and Mercury News. Read more

Razing la Raza

Razing la Raza

Ubuntu Theater Project’s Más is a stirring, sobering story of ethnic studies under attack.

Read my review in the Mercury News. Read more

The Queen Anne Bible

The Queen Anne Bible

MTC’s Anne Boleyn radically reenvisions “the harlot queen” as the mother of the Anglican Church.

Read my review in the Marin Independent Journal. Read more

C’mon-a Rosemary’s Life

9 September, 2015 Theater No comments
C’mon-a Rosemary’s Life

Was there more to Rosemary Clooney than ethnic novelty songs in an egregious Italian accent?

Read my review of Tenderly: The Rosemary Clooney Musical in the Contra Costa Times to find out! Read more

Grad School by Design

Grad School by Design

Is it worth it for theatrical designers to get an MFA? I asked a few in my latest feature for Theatre Bay Area.

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Putting the Nick Back in Antigone

Putting the Nick Back in Antigone

Shotgun Players’ Antigonick is the third bold new interpretation of Sophocles’ ancient tragedy Antigone to be produced by a Bay Area theater in the last couple of months.

Read my review on KQED Arts. Read more

Live, Die, Fail

Live, Die, Fail

Marin Theatre Company gives us the cheery tale of the untimely deaths of the Fail sisters.

My review of Failure: A Love Story is in the Marin Independent Journal. Read more

Knot in Your Gut

21 February, 2014 Theater No comments
Knot in Your Gut

Gidion’s Knot is a hard play to take. As seen in director Jon Tracy’s brutally effective Bay Area premiere staging at Aurora Theatre Company, Johnna Adams’s drama is 75 minutes of nonstop tension, alleviated only by moments of grim humor.

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