theater reviews

The ISO’s latest is a glitzy lesson in 1930s romance, with zealous orchestral flourishes steered by Jack Everly. Rachel York guides the ship from there, as comely evangelist–turned–entertainer Reno Sweeney.

The surefire standout of the night was Jasmin Richardson as Felicia, just as impressive in her quiet moments on stage as when she let that glorious voice soar.

“The moral of it is very much related back to what Whitman is trying to teach—that everyone is a part of everything, everywhere,” says Katherine Shelton (Caroline). “No one really dies, because everyone lives.”

The songstress revealed various realms of her range, both musical and stylistic, and, at one point, took the theater to church.

The cast welcomes a new Bob Crachit to the show, Mark Scheibmeir—a film and stage actor heralding from L.A.

Including the complexities of when to wear white (“Just never wear white”)and the perplexity of the sleeveless turtleneck (“Are you hot or are you cold? Make up your mind!”).

Koch and Platt opened their performance as pair called the Polka Dots, who “put the fun back in funeral” at an Indiana-based funeral convention. The two kept the satire local …

The brilliance of this play lies in understanding that, as an audience, we aren’t laughing at the ethnicity, tragedy, or handicap of the characters. Rather, it allows us the chance to laugh at ourselves for our own prejudices and judgments.

It’s April in 1865. General Robert E. Lee has surrendered, and Southern soldiers are retreating home. For many of them, it takes days and weeks to return from Appomattox.The slaves are freed. And it just so happens to be a time that people of Jewish faith are preparing to celebrate Passover. It is also a sad time for African Americans as they discover President Abraham Lincoln’s passing.

The show’s transparent theme is timeless: Comically bad people engage in alternately rosy and fatalistic relationships at all levels of society.