Theatre Reviews

Monkey King is a carnivalesque fever dream

Monkey King is a carnivalesque fever dream

By Janet Smith | February 8, 2010
So, how did you spend last Sunday afternoon? I watched a monkey king do back flips across a stage to speed-metal guitars.
Robert Lepage's Blue Dragon has spectacular imagery, thin story

Robert Lepage's Blue Dragon has spectacular imagery, thin story

By Colin Thomas | February 5, 2010
The lavish stage pictures in The Blue Dragon will be enough for many viewers.
The significance of the Holocaust demands more than KAMP delivers

The significance of the Holocaust demands more than KAMP delivers

By Colin Thomas | February 4, 2010
Stylistically, this spectacle from the Dutch company Hotel Modern is innovative. KAMP’s thematic and interior worlds fail, however.
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There’s a faintly glowing love story at the heart of the wintry, postapocalyptic NiX

There’s a faintly glowing love story at the heart of the wintry, postapocalyptic NiX

By Kathleen Oliver | February 1, 2010
Written and directed by Kendra Fanconi, NiX dazzles with its original and inventive staging.
Best Before's game gets dull

Best Before's game gets dull

By Colin Thomas | February 1, 2010
I enjoyed the charming, confident presence of the four hosts, all nonactors. But I kept waiting for Best Before to start.
The Passion Project is fleetingly pretty, but boring

The Passion Project is fleetingly pretty, but boring

By Colin Thomas | January 28, 2010
Yeah, yeah. Deconstruction. Whatever.
Jerk is disturbing—and pointless

Jerk is disturbing—and pointless

By Colin Thomas | January 25, 2010
Jerk is so disturbing—and pointless—that I wish I hadn’t seen it.
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The Edward Curtis Project is wildly ambitious

The Edward Curtis Project is wildly ambitious

By Janet Smith | January 25, 2010
Controversial photographer Edward Curtis makes for a daunting subject.
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Beyond Eden sells its humans short

Beyond Eden sells its humans short

By Kathleen Oliver | January 22, 2010
Beyond Eden delves into fascinating territory in our local history. If only the story were as powerful as the images.

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Nevermore's repetition gets weary

Nevermore's repetition gets weary

By Colin Thomas | January 22, 2010
This show rubbed me raw. The costumes are great and the actors are skilled, but the repetition is enough to raise a blister.
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Mrs. Dexter & Her Daily has some serious thematic undertow

Mrs. Dexter & Her Daily has some serious thematic undertow

By Colin Thomas | January 15, 2010
Joanna McClelland Glass’s new script Mrs. Dexter & Her Daily could be renamed Mrs. Dexter, because Edith Dexter’s daily maid, Peggy Randall, has virtually nothing to do.
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Debt—the Musical! has a fuzzy framework

Debt—the Musical! has a fuzzy framework

By Colin Thomas | January 15, 2010
Theatregoers who invest money and time in Debt—the Musical! won’t be paid back with sufficient interest.
There’s lots of love behind Forbidden Broadway's laughs

There’s lots of love behind Forbidden Broadway's laughs

By Kathleen Oliver | January 11, 2010
Whether you’re a rabid fan of musicals or averse to all the hype, Forbidden Broadway has something for you.
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Who’s Afraid of Virginia Woolf? a fantastic evening of theatre

Who’s Afraid of Virginia Woolf? a fantastic evening of theatre

By Colin Thomas | January 4, 2010
After the first two acts, I was impressed, but I was also nitpicking. At the end of Act 3, I couldn’t sustain the nitpicking because I was crying too hard.
Thoroughly Modern Millie's outrageous antics work

Thoroughly Modern Millie's outrageous antics work

By Colin Thomas | December 17, 2009
If you were going to do a show that contained an outrageous impression of a Chinese person, would you mount it in Richmond? Me neither. But the Gateway Theatre has done just that, and it’s working out fine.
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