BSW Reviews

As this travesty, built on the 1980s girls-school sitcom, begins to unfold, the question begins to nag: Have these people ever seen camp done properly before? In fact, they have.

In playwright Barbara Wiechmann¿s turgid drama, a young mother, Agnes (Lisa Clifton), believes she sees a vision of the Virgin Mary in her kitchen.

Ron Sossi has squeezed the corn out of Bertolt Brecht's otherwise devastating script and turned it into jolts of thoughts and feelings.

Playwright-director Andrew Moore nails the language of those who inhabit a 1942 San Francisco burlesque-house dressing room. But the work suffers dizzying bumps and grinds.

It doesn't take long to figure out that the title of Johnna Adams' short play refers not just to the deadly reptiles that figure so prominently in the story line but also to the characters.

British playwright Peter Whelan attempts to harness his play to playwright Christopher Marlowe's dazzling falling star. He succeeds admirably — for a while.

There are bright spots in Stuart Ross' handsomely staged rendition, but all in all, it's a lackluster affair.

Playwright E.M. Lewis' world premiere evenhandedly focuses on the human psyche's ability to cope — from a single terminal illness to mass genocide

Before the final blackout, the characters' magical breakthroughs are vividly depicted, but it takes so long for us to feel for, or even appreciate, the characters.

Who hasn't encountered the egg-on-the-face situation in which someone tries to wholeheartedly recount a funny anecdote that lands with a thud?

Daniel Keleher's play is set in a trash-littered apartment, where four guys are gathered to make a porn video they hope will make their fortunes.

Diane Glancy's exploration of a dysfunctional family's final disintegration into the desert wind — set in motion by a car accident — is an intriguing concept that loses energy quickly.

There is potential hilarity in the trials and tribulations of Hollywood writers who battle with capricious studio executives, but the storytellers should set a consistent comedic style.

The title of Theresa Rebeck's play refers to an awful sitcom about grown-up kids attempting to move back in with their parents. And we do see a few episodes of the show.

In the grand tradition of Grease and Bye Bye Birdie, Garry Marshall's beloved hit television series of the 1970s has become a full-fledged musical.

At its core, playwright Stephen Massicotte's dreamscape about love and loss, set against the backdrop of World War I, is bittersweet and heartbreaking.

The universal institution of marriage has always been prominent in Neil Simon's works. In this 2000 play it takes center stage, where it is picked and prodded at, wrenching pain and all.

The result is a high-energy, nonstop, rock-'n'-roll trip into a strangely captivating world that's at the same time nightmarish and dreamlike.

The field is admittedly small, but I can assure you this is the best feel-good one-man cancer-themed operetta you'll see this season.

As writer-performer Jay Sefton points out at the beginning of his engaging vehicle, autobiographical solo shows are often fraught with limitations.