148 stories by "Robert Israel"
In The Humans, Stephen Karam suggest that America can be a Heaven that in a moment, might flip into Hell.
"You can be certain that when the show begins and you hear 'Mack the Knife,' there will be scenes of slashing and murdering."
Adrianne Krstansky, a marvelous actress, understandably exhibits signs of the strain of having to carry the entire production on her shoulders.
The late Larry Coen was a mainstay in Boston theater.
Despite its drawbacks, this is a powerful production that speaks to what is happening today.
When it comes to helping artists make a living, social media turns out to be a mixed blessing.
Reading Nikki Giovanni, one is inspired to never cower, to never beg, to never surrender.
The bottom line is that we simply aren't given a requisite sense of the play's embrace of tragedy.
"Both poet/playwrights wrote with the same swings between tragedy and farce we live with now in America."
Men on Boats is a sometimes rollicking, at other times tedious, one-act play.
Israel Horovitz's latest play delivers some fine moments of comedy as well as some dark revelations about female neediness.
Throughout Sam Shepard's oeuvre one can find ample evidence of his struggles with demons, some of them distinctively American.
Fresh Ink Theatre is to be applauded for taking risks, for daring to mix it all up, for giving audiences a taste of what theater, shelter-skelter version, can be.
Yes, Ripcord is candied, but there's just enough astringency blended in to make the sugar sufficiently tangy.
The talented SpeakEasy Stage ensemble offers enough harmonious pizazz to make up for the musical 's erotic fizzle.
In the remarkable images of Henryk Ross, Nazi evil is exposed through a kind of heroic voyeurism.
Grand Concourse does wondrous things: it encourages us ponder our own growth toward faith while emphasizing with the struggles of others.
This excellent film version of the play Fences meets (even exceeds) the considerable demands of August Wilson's script.
These posthumous volumes provide ample proof that poet Philip Levine was far more than a proletariat troubadour.
Tiger Style! blows by like a whirlwind -- wordy, frivolous, and ultimately unsatisfying.
"Theater is my pathway to sanity," Melinda Lopez explains.
This is a galvanic production that stirs the spirit and demands that we reflect on what the script says about our own time, our own struggles.
"If you'll excuse me for being cheeky, it's a collaboration between the players on stage and Beckett's works."
Yes, another circus show has come to town with players who display breath-taking athleticism in all its cheeky glory.
Once Eugene O'Neill and Tennessee Williams achieved success, they wanted to take on themes in their plays that challenged audiences.
