Steve Murray - Page 7

What did our critic think of BAY AREA CABARET PRESENTS MEOW MEOW at Venetian Room?

What did our critic think of A PICTURE OF TWO BOYS at New Conservatory Theatre Center?

What did our critic think of BAD HOMBRES at Theatre Rhino?

What did our critic think of ON BECKETT at A.C.T. Geary Theatre? On Beckett is an obvious labor of love, combining the phenomenal clown skills of the great Bill Irwin with his affection for the works of Samuel Beckett. Great comics often make great dramatic actors (e.g., Gleason, Lewis, Williams) and Irwin can, in a split second and with the aid of some clown props, morph into Beckett's complex, Irish voiced characters. The result is a stunning one-man show that delights and challenges.

What did our critic think of PONY at Cutting Ball Theater? Of course, San Francisco would be ground zero for explorations of transgender issues through theatre being a world leader in social, political, and economic issues. Cutting Ball, situated in the heart of what is now the world's only legally recognized transgender district, is joining with The Transgender District to present Pony, Sylvan Oswald's representation of transmasculine characters and the difficulties they face.

What did our critic think of EDEN ESPINOSA LIVE AT THE ORINDA! at Orinda Theatre?

What did our critic think of CLYBOURNE PARK at Hillbarn Theatre?

What did our critic think of AUNT JACK at New Conservatory Theatre Center? The huge divides between intergenerational communities are addressed both poignantly and comically in Nora Brigid Monahan's Aunt Jack, NCTC's opening production of the 22-23 season. With a broad pen, Monahan includes themes of gender identity, gender politics, grief, and family ties. It's plenty to chew and perhaps less could have been more.

What did our critic think of INDECENT at SF Playhouse? Co-Founders Bill English and Susi Damilano were obviously emotional on the eve of their 20th Anniversary Season opener, mentioning that Paula Vogel's Tony award-winning Indecent mirrors their intention of creating theatre that challenges audiences, exposes our humanity and opens minds. In what may be Susi's finest directorial work, Indecent soars with poignant imagery, gut-wrenching emotion, and thrilling performances. As a play about the creation of a play, it's an intimate portrayal of artistic expression, freedom, repression, and courage that ultimately uplifts the spirit.

What did our critic think of DUNSINANE at Marin Theatre Company? MTC's opens their 2022-23 season with a wonderfully directed all-American production of Scottish playwright David Greig's Dunsinane, a fanciful sequel to Shakespeare's Macbeth. Co-directors Jasson Minadakis (MTC Artistic Director) and Rob Lutfy (Associate Artistic Director at Cygnet Theatre) have created a visually stunning, action-packed re-creation of 12th century Scotland that is eerily prescient to our modern political landscape.

What did our critic think of PASSENGERS at ACT Geary? 2022 is the year of the ascendancy of circus arts evidenced by the sensational AirOtic's run at the Great Star, Club Fugazi's current 7 Fingers creation Dear San Francisco, and now their newest effort Passengers. By the zealous audience receptions, the physical artistry and beauty of the performers in various seldom seen art forms is just what the doctor ordered.

What did our critic think of THIS MUCH I KNOW at Aurora Theatre?

What did our critic think of TO KILL A MOCKINGBIRD at Golden Gate Theatre?

What did our critic think of LEAR at Cal Shakes?

What did our critic think of MAN OF GOD at Shotgun Players?

What did our critic think of MOULIN ROUGE! THE MUSICAL at Orpheum Theatre?

What did our critic think of GODDESS at Berkeley Repertory? The first thing the audience sees is Arnulfo Maldonado's incredible two- story Moorish influenced set representing Moto Moto, the hip Mombasa night spot for music and dance. A jazzy overture gets the audience hyped, then BAM - the World Premiere and much anticipated Goddess ensemble powers into its opening number. The audience nearly blew the roof off the Roda Theatre and the high energy and excitement level never wavered throughout the evening. Sensational it was - brilliant, athletic choreography by Darrell Grand Moultrie introducing us to the hip nightclub Moto Moto that will act as the main location of the show.

It's March 4, 1848, and the TheatreWorks audience are all students who paid 20 francs for a piano lesson from none other than the doyenne of Paris society, piano virtuoso Frédéric Chopin.

What did our critic think of OKLAHOMA! at Golden Gate Theatre?

What did our critic think of DREAM HOU$E at Shotgun Players?