by JK Clarke   To effectively convey a message about morals and ethics in a theatrical production, it’s probably best to use a contemporary setting. Characters and circumstances are relatable and dilemmas encountered seem far more plausible, than if the...

        by JK Clarke   Even buried up to her neck in dirt, Dianne Wiest can act circles around most other thespians. A wild assertion, but one that’s readily demonstrated in Yale Repertory Theatre’s revival of Samuel Beckett’s simultaneously amusing and bleak Happy...

        by JK Clarke   Humankind has been plagued with apocalyptic visions and foreboding since the dawn of civilization. Earliest organized groups of humans created mythologies (eventually called religion) designed to address and possibly face fears of the unknown....

        by JK Clarke   A double-header of Scandinavian 19th century dramas would ordinarily be less than enticing to anyone but ardent fans of classical theater, as it would be a daunting undertaking. But the two productions, Henrik Ibsen’s classic A Doll’s House and...

      by JK Clarke Deconstructing an art form can often lead to interesting and beautiful new styles,  movements or individual works of art. Picasso’s foray into cubism produced world-renowned masterpieces; Eric Satie’s Gymnopedies broke classical piano into works we are...

  NY Theater Review by Paulanne Simmons     When neurologist Oliver Sacks writes about patients who see the world very differently from the average person, his case studies are fascinating and sometimes frightening. When director Peter Brook writes about the same subject, the...