by Jess Hoffman Historical dark comedies would seem to be a niche genre combination, but Archduke at Capital Repertory Theatre is not the first one I’ve reviewed and I doubt it will be the last. There seems to be an interest in recent years in writing avant-garde, darkly funny, historical…
by Jeannie Marlin Woods This charming “two-hander” playing at the Majestic Theater is a perfect little love letter that should not be missed. Based on the actual love story of playwright Ken Ludwig’s parents, “Dear Jack, Dear Louise” is a wonder—marvelously constructed to hold our attention even though the plot…
by Jess Hoffman As a general rule, I dislike one-actor plays. Watching one performer speak to the audience for the length of an entire show is not fun for me, unless it has a really intriguing premise, a uniquely talented actor, and a director with vision. Luckily, the first show…
by Jess Hoffman I feel I must start this review by making it clear how much I love all things medieval. I attend renaissance festivals in full costume, I’m fascinated by pre-modern weaponry and warfare, I read Medieval fantasy epics like it’s my job, and I absolutely love to watch…
by Jess Hoffman If you’ve studied theater in any capacity, you’ve probably come across Arthur Miller and, specifically, The Crucible. I certainly remember reading The Crucible in high school, and then again in college… twice. I do love the play, but it’s not an easy play in any sense. It’s…
by Paula Kaplan-Reiss In the midst of a frigid winter in the Berkshires, we had a sunny day where the above freezing temperature gave a hint of melting snow. The atmosphere was similarly bright and cheery on the stage of the St. Germain Theatre hosting the 15th annual 10 X…
by Dan Mayer In her director’s note, Albany’s own Benita Zahn describes Jen Silverman’s The Roommate as “a play about trust, change and crafting a life we want.” It’s also a play about a modern day Odd Couple with “women of a certain age,” but Albany Civic Theater‘s production has…
by Jess Hoffman A play that opens on the image of an old photograph of an enslaved Black woman nursing a White infant promises a provocative, no-holds-barred meditation on racism and sexism. This is exactly how Confederates opens at the Rep, as one of our two lead characters speaks passionately…
