William Goldman’s Misery, a dramatization of Stephen King’s horror novel, is now receiving a searing production at the Edge Theatre. You may have read the book or seen the film starring Kathy Bates and James Caan, but you have never experienced this freaky story in such an intimate environment.
Square Product Theatre founder Emily K. Harrison focuses on innovative work that has audiences talking and guessing — and perhaps feeling just a touch unbalanced by the end. Now Square Product is presenting the regional premiere of Amelia Roper’s acerbic, wonderfully-titled one-act comedy, She Rode Horses Like the Stock Exchange, at the Dairy Arts Center.
Geoffrey Kent’s Waiting for Godot at the Arvada Center is one of the best versions of this play we’ve seen: funny, lively, sad and moving, seeming simultaneously to take forever and to move rapidly along. Most important, it’s well cast.
Lauren Gunderson’s Silent Sky deals with an important topic — the ignored contributions of women scientists — but it feels more like a young-adult novel than a living dramatic work.
I’ve been trying to moderate my immediate reaction to Ayad Akhtar’s Disgraced: that it’s a nasty, mean-spirited, dangerous and anti-Muslim piece of work, and I have no idea why a Pulitzer committee would have awarded it the 2013 prize for drama. But I can’t. The play falls into the general…
Robert Schenkkan composed Building the Wall during the run-up to the election last fall, horrified by what he was hearing and seeing — “a fundamental assault on American values,” he calls it. This Curious Theatre Company production is part of a five-city rolling world premiere.
A Skull in Connemara is the second in Martin McDonagh’s award-winning Leenane Trilogy. The title comes from Lucky’s nonsensical, despairing monologue in Samuel Beckett’s Waiting for Godot, and it falls between The Beauty Queen of Leenane and The Lonesome West. All three were written in a frenzy of creative energy…
Playwright Robert Schenkkan’s response to the election was swift and fierce.
Chinglish, a play about an American businessman struggling to win a commission in China, has good intentions. So does this Aurora Fox production. But sadly, the show isn’t very good.
Disenchanted, which satirizes the cultural assumptions, historical distortions and masculine obtuseness behind the perfect Disney princess image in a series of tuneful, lively and often very funny songs, is a delightful way to spend an evening.
Take the Edwardians’ morbid fascination with death, murder and the macabre early in the twentieth century, then add black humor, some woman-to-woman celebration, a bit of mockery and touches of real sorrow, and you have The Drowning Girls, a regional premiere at the Arvada Center’s Black Box Theater.
Nick Payne’s Constellations, now in its Denver premiere at Curious Theatre Company, got raves in New York — but we’re having trouble getting beyond the fake British accents.
Douglas Carter Beane’s The Nance, now seeing its regional premiere at Edge Theater, is a play about burlesque in 1930s New York; it’s a fascinating slice of history, and an equally fascinating character study.
Bus Stop, currently showing at the Arvada Center, was written in 1955, and it creaks a bit. A group of people are stranded at a bus stop restaurant in a small town west of Kansas City by a howling blizzard. What follows is a character study of this disparate gathering,…
You don’t need to be a Beowulf fan to get swept up in this extraordinary production by the Catamounts, now at the Dairy Arts Center.
An Iliad is a version of Homer’s epic poem about the Trojan War, told in ninety minutes in a mixture of exalted language and everyday vernacular by a single lonely figure on a stage that represents somewhere blasted and unnamed — a place with dark, broken windows, bits of crumbling…
The high pitch of the national climate-change debate vibrates throughout the production of Two Degrees, a world premiere at the Denver Center for the Performing Arts after the script was workshopped at last year’s Colorado New Play Summit. No one in the audience can be unaware that all of President Barack Obama’s work on the issue is about to be undone.
It seems that Buntport had the Trump presidency very much in mind when creating The Zeus Problem, a story about what happens when all power is invested in a single figure, particularly one as mercurial and unaccountable as Zeus. Except that Jim Hunt is a whole lot funnier than Trump.
Longtime Denver Center for the Performing Arts trustee Jim Steinberg, of the Harold and Mimi Steinberg Charitable Trust, resigned from the organization, in protest of CEO Janice Sinden ousting Artistic Director, Kent Thompson.
The Christians has a interesting story, but doesn’t go deep — and the view is caught between heaven and hell.
Taylor Mac’s Hir is a mess — but it’s a seething, evocative, darkly funny mess tangled in a host of issues, with sex and gender at their center. Intelligently directed by Josh Hartwell, Hir represents a daring step for Miners Alley, providing entry into a world that feels somewhat alien and hermetically sealed. It’s fascinating to observe for an evening, though you wouldn’t want to stay too long there.
The beginning of Brilliant Traces, now playing at Vintage Theatre, is wonderfully evocative: A young woman in a wedding dress stumbles into a remote and dilapidated Alaska cabin. Her car broke down some time ago, and she’s been wandering in a blinding whiteout — the kind that disorients and kills…
