Backstage Review: Clue at Bruka Theater

“Clue” is a campy play based on the board game of the same name. As in the game, you have several characters coming together for an evening of mystery and murder. Each character has instructions that include a new identity that they must adapt. Their host (Mr. Body) has many tricks up his sleeve for the evening.

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Backstage Review: Two Across at RAT

“Two Across” is a beautiful story of two strangers brought together by chance to discover a shared passion that opens their eyes to what life could be with the right person. But anything worthwhile, this is not an easy road for these two, and both of them are quite damaged. In the 80 minutes of traveling from one end of the subway to the other, the audience witnesses a remarkable transformation as Janet (Played by Robin Soli) and Josh (Played by Dave Cherry) soften to each other.

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‘Lifespan of a Fact’ at RAT

“The Lifespan of a Fact” is part funny and part cerebrally challenging, asking the question, where do journalistic ethics and good storytelling meet, and can that blending be successful? We have a writer, a fact-checker, and an editor battling with that very question in the story. Although there is no answer in the play, there are many thought-provoking questions that will fuel the audience’s conversations for some time after watching “The Lifespan of a Fact.”
RAT’s production of “The Lifespan of a Fact” is masterfully performed by Ron Flesher, JJ Mungcal, and Wendy Feign. This ensemble cast brings the story to life with a passion for the more profound questions of ethics.

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The Met Streams Offenbach’s ‘Les Contes d’Hoffmann’

Tuesday, August 4
Offenbach’s Les Contes d’Hoffmann ~ 2 HRS 51 MIN
Starring Erin Morley, Hibla Gerzmava, Kate Lindsey, Christine Rice, Vittorio Grigolo, and Thomas
Hampson, conducted by Yves Abel. From January 31, 2015.
Italian tenor Vittorio Grigolo
takes on the title role in
Offenbach’s fantastical opera,
giving a very favorably reviewed
performance as the tortured poet
who is decidedly unlucky in love.
He is joined by a trio of excellent
leading ladies: Erin Morley sings
the high flying coloratura
demanded of the mechanical
doll Olympia, Hibla Gerzmava is
the fragile Antonia, and
Christine Rice sings Giulietta,
the Venetian courtesan. Bartlett
Sher’s production with sets by
Michael Yeargan (described by
the New York times as “a flimsylooking
mash-up of images from
Kafka, Fellini and Magritte”) is
seen tonight in its second Live in
HD presentation. In addition to
Hoffmann and his three loves
above, this one also stars suave baritone, Thomas Hampson who plays all four sinister villains and the
marvelous Kate Lindsey (again) as Nicklausse, Hoffmann’s friend and muse. Yves Abel conducts.

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Backstage Review: ‘Noises Off’ at At Good Luck Macbeth

To understand Noises Off it helps to know Murphy’s Law and O’Toole’s Commentary on Murphy’s Law aka O’Toole’s Corollary. Murphy’s Law says if anything can go wrong, it will. O’Toole’s Corollary says Murphy was an optimist. And if the purpose of theater is to hold a mirror up to ourselves so we can see clearly who and what we are then Noises Off tells us we are all doomed.

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Backstage Review: ‘Hearts Like Fists’ at the Restless Artists Theater

Doctor X is a certifiable, industrial-strength nogoodnik making Abu Bakr al-Baghdadi look like Mary Poppins. She sees her face like a squirming bowl of worms. I have no idea what that means. Okay, let’s take it to mean that she does not see herself as a good looking gal. The love of her life (the nurse) has a face like a china plate. Maybe that means she has a face like a beautiful piece of Wedgewood china, like a creamy white cameo against a field of pale, delicate blue. Okay, that makes sense. Let’s go with that one, too.

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