In a taut, one actor, one-act The Thousandth Night by Carol Wolf the poised Kyd takes on about three dozen roles beyond just de Bonheur to draw us into a world of ever-increasing fear and suspense that permeates MetroStage’s production.
With a tremendously memorable rendition of Les Misérables, viewers will still be “hearing the people sing” when “tomorrow comes.”
With ardor and humor palpable in every moment of their performance, the spirit of the cast was perhaps even larger than the hairstyles of the 1960s.
It was evident that Annandale’s production of The Music Man was anything but troublesome, instead providing a wonderfully crafted performance.
The Neo’s race against the clock to perform 30 miniature plays in 60 “breathless” minutes using vignettes ranging from the zany to the risqué to the profound.
To see or not to see, THAT is the question; and unquestionably this clever and creative comedy makes for a quality evening of entertainment.
Bishop Ireton delivered just the right excitement and charm to remind us all of the “Brotherhood of Man.”
Given its acting and technical virtues, the TACT production is not simply a piece of historical and cultural commentary but a lively, highly engaging theatrical experience.
As we enter April and our own long drab winter, step away from “Downtown Abbey” and watch live English comedy at its best at CAT Theatre.
In their matching dinner jackets, underneath a huge projected moon and bathed in sumptuous evening light, it’s easy to forgive any flaws and just let the ears enjoy the aural buffet.