In 2006, a delusional gunman entered a one-room schoolhouse in Lancaster County, Pennsylvania, home of an Old Order Amish community, with the intention of acting out his obsessive fantasy of molesting Amish girls. Although thwarted by the unexpected arrival of police, he shot 10 girls, ages 6 to 13, execution-style before killing himself. Five of the girls died.
Former artistic director Bill Theisen is back at the Skylight, and boy, does he have a story to tell.
A performance of Beethoven’s “Kreutzer” Sonata requires two artists: one on violin, one on piano. A performance of Nancy Harris’ Kreutzer Sonata, adapted from Leo Tolstoy’s novella of the same name, requires a third: a gifted actor who can stand within the gaps of that sonata and tell a tale of a man driven to obsession by the passions such a work of art can evoke in its performers and listeners.
Roelf Visagie, a white Afrikaner who drives a train in his native South Africa, is haunted by the death of a black African woman and her child. One night, out of nowhere, the woman steps in front of his engine as a way of committing suicide.
There’s a funny contrast at the heart of Good People. Its heroine is Margie, a South Boston mother working paycheck to paycheck who runs out of paychecks. She earns our sympathy almost immediately, with a can-do spirit and relentless drive. But most of us in the audience aren’t Margies.
When Steve Gonsalves first saw Ghostbusters, the 1984 Bill Murray comedy about four hapless souls who chase paranormal specters and save New York City from the powers of darkness and a giant Stay Puft Marshmallow Man, his life’s course became clear.
When Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street opened on Broadway in 1979, its murderous themes caught the attention of audiences and critics alike and helped them sharpen their appreciation for less cheery musicals.
Jon Mueller and William Ryan Fritch used to be complete strangers.
Of all Shakespeare’s plays, Macbeth is among the most gendered, its characters struggling with the ways their society expects them to act like men or women.