As someone who lived through the great days of the Civil Rights Movement, and the inspiration that Martin Luther King and others, warts and all, provided to the nation, I find it impossible not to be moved by the material of this play, warts and all.
“Uproariously funny” aptly describes the result; the audience was, indeed, in an uproar of laughter from start to finish.
Professional quality shines through in every aspect of the production.
Like its characters, who ultimately seek a life that, if not perfect and normal, is next to normal, the current Reston Community Players production, though not without flaws, is next to excellent.
The words, thoughts, and actions of Stoppard’s actors and writers have wider meaning to the extent that all the world is, in fact, a stage.
This was a worthy production of an opera that, like the play upon which it is based, should remain in the active repertory for a long time to come.
For spectacular, visually arresting technical theater and virtuosic, athletic movement, look no further than Synetic Theater’s production of The Tempest.
While perhaps not quite as well-known as the “big three” of Pinafore, Pirates, and Mikado, Iolanthe is arguably Gilbert and Sullivan’s most completely satisfying work.
In some moments, Arena Stage’s large, shallow, rectangular pool — reportedly the largest used in any production of the show — is used to striking effect.
Schiff’s performance is a clinic in how an actor can give a character profound emotional and dramatic force without ever resorting to histrionics.