For a show set during the hardscrabble 1930s, few performances suggest downtroddedness.
It’s difficult to discuss Unknown Soldier without considering the impact of legacy.
Beth Malone is the Molly Brown of our dreams, say Cameron and David.
Time heals almost everything, as Jerry Herman’s best score is stylishly resurrected.
The long-neglected composer’s work anchored a concert dedicated to exploring personal identity through music.
With predictably Eurotrashy design elements, playwright/director Simon Stone reduces Euripides to soap opera.
Judith Ivey offers a performance of raw, unflinching honesty across the story’s increasingly bleak three hours.
This musical is as manicured as the kind of Stepfordian society the material supposedly rails against.
It’s not difficult to make an audience weep. But artists have a responsibility to not overuse that power.
Seen here, this dated piece of earnest but intolerant realism seems almost a parody of itself.