This is not a play with circus tricks added to it; it is a singular piece of theatre that replaces conventional blocking with a breathtaking physical language.
Ultimately, Dirty Dancing: The Musical succeeds at recreating the movie onstage but rarely explores what live theatre could add to it.
The theatregoer who wants a messy, high-energy night of queer pirate smut – perhaps with friends after a nearby Edgewater happy hour – may have a genuinely great time.
Still, by the end, Suffs lands exactly where it needs to. It leaves the audience empowered without pretending that empowerment is the same as change.
Water for Elephants captures the exact feeling it is chasing: awe. It is dangerous, romantic, inventive, and deeply theatrical, with a company that makes the impossible look effortless.
It is bigger, more surprising, and more communal than I expected … Whether or not it was “true magic,” it certainly felt like it.
The production is, above all else, a staggering vocal achievement – made even more impressive by this marking Raven Theatre’s first musical production.
What makes Klee such a compelling speaker is the same quality that has made her social media presence so successful: radical candor.
Hunt’s solo performance is as hilarious as it is unexpectedly emotional, striking a balance between humor and trauma that only a child of divorce could pull off.
Florentino’s performance is astonishingly intimate; even in a full theatre, she makes it feel as though her pain is being shared one-on-one with each audience member.
Tolliver is sharply funny – and he knows it – allowing his genuine self-amusement to shine through on stage, making you laugh first at the joke, and then again at his reaction to himself.
By rejecting conventional polish altogether, Everybody makes room for humor, heart, and an unmistakable dedication from its incredible cast.
If you’re a fan of A Christmas Carol, then you have to see this show. And, if you’re a bit tired of the old story, this may be exactly what changes your mind.
Even at their most outrageous – and believe me, the outrageousness is abundant – Jinkx and DeLa never lose sight of the heart.
It’s a fine line between humor and misogyny, and this play walks it with grace, empathy, and a sharp sense of humor.
More than a haunted house and not quite a play, the House of the Exquisite Corpse series lives somewhere between immersive theater and a live-action episode of Black Mirror.
Its rawness – feeling more like a communal act of introspection than a neatly packaged play – is precisely what makes it compelling.
Put simply, he was flawless, stepping into a role once played by Leonardo DiCaprio on the big screen and making it entirely his own on the Marriott’s stage.
Still, joy alone can’t sustain a new musical. … Without meaning, satire risks becoming little more than noise.
The ensemble didn’t just inhabit spaces on a stage – they made the stage their village, filled it with energy, and created a sense of community that stayed with you throughout the production.