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Rob Weinert-Kendt

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  • 6 years ago

    Teetering on gold heels in a skin-tight black dress in a generic meat-market nightclub, rail-thin Claire (Natalia Payne) looks every inch the overeager fake-ID teen—the Jailbait of Deirdre O'Connor's misleadlingly sensational title. But the ...

  • 7 years ago

    How do you pack Isabel Allende's densely imagined, generously populated, multigenerational epic The House of the Spirits into a small Off-Broadway theater with a cast of 11? Playwright Caridad Svich and director José Zayas telescope the boo...

  • 7 years ago

    In a musical, characters break into song at the point where mere speech can't match the size or heat of their feelings. And though operas pair each word with a note, their soaring arias typically stand out from the pedestrian plod of recitative. E...

  • 7 years ago

    Seven actors scramble and skid from the front to the back of the house, and in and out of every available door, in Theatre Is Dead and So Are You, Stolen Chair's rambling, fitfully thoughtful vaudevillian wake for the art form we hate to love so. ...

  • 7 years ago

    As prose, Shelagh Stephenson's Five Kinds of Silence is surpassingly lovely, gritty, and hauntingly empathetic to all the fighters on its bleak domestic battlefield. Bad dad Billy (Stephen Hansen) may be a drunken dictator who routinely beats and ...

  • 7 years ago

    Zombie Joe is the real thing: a genuine outsider artist with an aesthetic so single-minded it approaches madness. In Urban Death, an hour-long anthology of wordless terror tableaux, this North Hollywood–based writer-director carves a gory pa...

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