REVIEW: Green Day’s “American Idiot” at SLOC
by Paula Kaplan-Reiss Unfamiliar with Green Day’s music, but aware it attracts a younger crowd, I had few preconceptions about American Idiot, performed at SLOC…
REVIEW: “Witch” at Confetti Stage
by Dan Mayer The term witch can invoke a lot of different meanings depending on the context. In this case, it’s a label used to…
REVIEW:”Steel Magnolias” at Schenectady Civic Players
by Jess Hoffman I believe that classics are classics for a reason. It behooves any theater to mix in new and avant-garde theater with some…
REVIEW: “Fiddler on the Roof” at Home Made Theater
by Sierra Pasquale There is something uniquely difficult about reviewing Fiddler on the Roof. The show carries so much emotional and cultural weight that audiences…
REVIEW: “Happy End” presented by The Glimmerglass Festival, Opera Saratoga, The Seagle Festival, and Finger Lakes Opera
by Gail M. Burns In Berlin, Germany, in 1928 The Threepenny Opera was a huge and lucrative hit for Bertolt Brecht, Kurt Weill, and Brecht’s…
REVIEW: “Fefu and her Friends” at Hubbard Hall
by Patrick White The play opens with the line “My husband married me to have a constant reminder of how loathsome women are.” For the…
REVIEW: “Rooted” at WAM Theatre
by Macey Levin Over the past fifteen years WAM (Where Arts and Activism Meet) Theatre has built a reputation of offering women-oriented, challenging productions and…
REVIEW: “All the Colors” at Creative Action Unlimited
by Dan Mayer Art is often at its best when it directly addresses current events, challenges social norms, and demands change. All the Colors is…