Lone Star Score 80%

Lone Star

I wouldn’t call Ryan McCartan’s characterization in the role of Cletis a scene-stealer. I would call it a play-stealer extraordinare.

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Shadows Score 65%


Relationships are never easy.  For the six women in Shadows, written and directed by Anthony M. Laura it is ever so.  Alas, we don’t really learn why.  The actresses do their best, but between the lackluster writing and near nonexistent direction, they have been abandoned to acting in a vacuum.   As a result the piece comes off as amateurish and at times unbearable, I’m sorry to say.

This play in two acts is really a tale of two plays, one which fails and the other which has possibilities.  Act One plays one note, over and over again.  However, as Act Two progresses, a storyline appears.  We finally arrive at the kernel of inspiration for this play.  How an author could bury the lede 3 hours in is beyond me.  Still, better late than never.

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School Pictures is at once entertaining, educational, thought provoking, vulnerable, hilarious, sentimental, and heart-warming.  It reaches you on an extremely human level, and on a political one. It gives you hope for humanity while exposing the privilege and racism within its education system.  It is only running through December 10th.  Run (don’t walk) to get your tickets, before it’s too late!

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Translation’s message rings true on both a personal and a more global level. It explores how we connect with each other and what we choose to keep and value of myth, legend, history and culture and that which we choose to leave behind; feeling particularly ominous at a time when the world is contending more closely than ever with the ideas of cultural erasure and oppressive colonialism.

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‘Til Death Score 80%

‘Til Death

In her play, ‘Til Death, Elizabeth Coplan examines the less attractive aspects of death – less attractive in that as we watch a loved one reach the end of his or her life, feelings we would prefer to remain hidden inexorably rise to the surface.  Antagonism and greed can override compassion in an instant.  Compounded by the issue of a loved one expressing a desire to choose to take control of the process, the turmoil can reach next level dissonance.  Coplan makes a worthy effort to explore this difficult subject, but the play falls far short of the mark. 

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