Greg Kerestan - Page 8

Parsing the real from the unreal, and the cathartic from the callous, makes Melissa Hill Grande's production of the Greek tragedy a unique, almost interactive, viewing experience.

A fantastic directorial interpretation and a dazzling cast bring lightness and charm to a deeply unusual, almost unbalanced, romantic comedy.

The classic musical/cabaret hybrid takes audiences back to a different era in both music and comedy.

Shakespeare's remix of his own work gets masterfully refitted as full-on farce in Ted Pappas's production.

Kander and Ebb's legendary musical has never been more timely.

After a two-decade wait, Disney's cult animated musical finally comes to the stage, in an all too timely production.

Director/choreographer Zeva Barzell stages a flashy and energetic show, despite not having the strongest material to work with.

Gone are the Dust Bowl affectations and commedia dell'arte affectations- Ted Pappas's reworking of the Rostandesque chamber musical is all about the power of theatre

Make no mistake- this isn't 'Sesame Street.' But it's not quite 'Avenue Q' either.

From this famous play sprung the modern sitcom fully-formed, but it's a little darker than you might remember.

Barbara Burgess-Lefebvre's eerie production of the impressionist musical takes the show back to its roots, for better and for worse.

The acclaimed university's children's theatre double feature explores the wide variety of possibilities for family entertainment.

Bells are ringing, children singing, all is merry and the suicide rate is off the charts in Truman Capote's private holiday nightmare

PMT wrings good performances from an imperfect musical, but when the music sounds this good, it's hard to complain too much.

Pittsburgh Public's staging of the classic musical tribute to New York's criminal underbelly is a laugh riot and a blast from the past.

Scientists, Nazis, silent movies, dreams and pastries all collide in an ambitious but dense new one-act.

Two decades after its premiere, Sondheim's most controversial musical shouldn't feel as prescient as it does.

Fun will be had, sticks will be slapped, pizza will be eaten.

Carole King's biomusical leans heavy on the bio, but in this case that's a good thing.

Boy bands and Christian rock may not be as timely as they were when this gently edgy spoof premiered, but somehow that makes everything funnier.