Russell Lees’ Nixon’s Nixon is an animalistic powerplay in the manner of McClure’s The Beard and Mamet’s Oleanna; two hungry beings in a single room, both jockeying for the upper hand. Here, it’s Richard Nixon and Henry Kissinger, alone on the eve of Nixon’s resignation. To say the situation is timely is an understatement: A […]

Tom Stoppard’s Arcadia is an unusual choice for Play On! While the play may be far from agit-prop or avant garde, it ain’t Moss Hart. It’s a challenge. Stoppard has always written as if to show how clever he is, and damn if he doesn’t succeed at every turn, decade after decade. Play On! risks […]

It takes a gifted writer to charm centuries of academics and audiences alike with what are essentially dung jokes aimed at con artists. 

Holiday crowdpleasers are a necessary evil in the industry of community theatre.

Kids these days sure do like their metatheater. It’s no surprise, then, that PVCC chose two modern classics of the genre—Eugène Ionesco’s The Bald Soprano and Christopher Durang’s The Actor’s Nightmare, as a back-to-back crash course in Absurdism. You’ll never find a heartbreaking production of The Bald Soprano, a projected spoof of nonsensical domestic small […]