Krista Garver - Page 4

What did our critic think of MY BEDROOM IS AN INSTALLATION at Imago Theatre?

Go for the nostalgia, the music, and above all the great performances.

AIN’T MISBEHAVIN’ is a great musical showcase, as well as a much-needed diversion. The hooting, hollering, clapping, and toe-tapping audience seemed to agree.

Samuel Beckett’s 1961 masterpiece HAPPY DAYS, now being presented by the Northwest Classical Theatre Collaborative, is a tragicomic meditation on how to hang onto our humanity as time marches us slowly toward death. It’s equal parts LOL funny and deeply depressing, and it’s eerily relevant to our current post-pandemic world that is also burning.

What did our critic think of ROGERS + HAMMERSTEIN'S CINDERELLA at Broadway Rose?

Blending 16th century history with modern pop culture and music, SIX is a super-smart, high-energy celebration of women reclaiming the narrative of their own lives. Most of all it’s just really fun.

CARDIAC ORGAN is excellent fun – not the good, clean type, but the vastly superior creepy, twisted type. Slither up to the bar for a Red Rabbit and enjoy the show.

This wild play by Max Yu explores how technology isolates and then consumes us as it goes from being a tool we use to something we’re used by.

This beautiful play is a powerful lesson in staving off despair and loneliness through authentic connection with others.

What did our critic think of TRUE STORY at Artists Repertory Theatre?

MYRA’S STORY, a solo show by Brian Foster now running at Corrib Theatre, takes an unflinching look at the factors that resulted in a woman becoming an alcoholic and losing her home.

This beautiful musical, based on the true story of how a small town in Newfoundland opened their doors to 7,000 stranded “plane people” when U.S. airspace was closed following the terrorist attacks, is an antidote to skepticism, nihilism, and loneliness.

A chat with christopher oscar peña and Kristoffer Diaz about their projects, the importance of residencies like Playwright Convening, and the current state of theatre in America.

Do you remember what it was like to be 17? Excited, angsty, passionate, confused, and hopeful all at once. And maybe you fell in love for the first time with someone who was oh-so-wrong but also perhaps oh-so-right. If any of that sounds familiar, and especially if you happened to be a teenager in the 90s, Jessica Wallenfels’ GREAT WIDE OPEN should be on your radar.

You will be hard-pressed to find anything more fun than this super sassy, high-energy celebration of self-acceptance, inclusivity, and, of course, big hair.

IMO you should never pass up the opportunity to see an August Wilson play, and that certainly goes for SEVEN GUITARS.

This is very intimate theatre, and not just because it’s performed for small groups in small rooms. Every piece deals with an intimate subject – something we don’t like, or don’t know how, to talk about. So, buckle up. And go see it.

Madeline Sayet’s sweeping and poetic one-person play WHERE WE BELONG tells the story of Achokayis, a Mohegan theatre-maker, who in 2015 moves to England to get her PhD in Shakespeare. It deals with issues that we as a country have actively worked to avoid talking about, or at least to relegate them to the past, even when their impacts are ongoing.

YOUNG AMERICANS a quiet contemplative sort of play. It asks you to reflect on a question -- What does it mean to be an American? -- that has no definitive answer in a way that takes a wide variety of perspectives into account.

Whether you feel like a romantic comedy or a look at an important moment in our civil rights history, WHAT I LEARNED IN PARIS fits the bill.