The Black Box Theatre's The Thanksgiving Play isn’t really about Thanksgiving at all. It's not a story of stuffed birds, mashed potatoes, and raucous family dinners. Instead, it focuses on the people who are trying to make sense of how to tell the first-Thanksgiving story, and in doing so, revealing just how tangled and hilarious the process of “getting it right” can be.

Remembering the devastating losses and world-changing terror of 9/11 doesn't usually inspire joy, or instill hope. But there's a musical about it that does both, focusing on how the destruction in New York City and Washington D.C. affected a little island roughly 1,500 miles northeast.

Reviews by Rochelle Arnold, Jeff Ashcraft, Patricia Baugh-Riechers, Audra Beals, Pamela Briggs, Dee Canfield, Madeline Dudziak, Kim Eastland, Emily Heninger, Heather Herkelman, Kitty (née Israel) Hooker, Mischa Hooker, Paula Jolly, Victoria Navarro, Roger Pavey Jr., Alexander Richardson, Mark Ruebling, Mike Schulz, Joy Thompson, Oz Torres, Brent Tubbs, Jill Pearson Walsh, and Thom White.

Talented folks at the Spotlight Theatre, led by director Aaron Baker-Loo and music director Laura Hammes, are giving Young Franknstein's seasonally apropos, demanding script an electrifyingly exuberant treatment.

As I drove through the waning dusk of a scorching hot fall evening, I wondered what was in store with the Richmond Hill Barn Theatre’s production of The Woman in Black, directed and designed by Dana Skiles. Turns out, a frighteningly good time. With a wealth of talent on stage and off, this production is not one to miss for fans of horror or damn good theatre.

The Half-Life of Marie Curie takes us back to 1911, and a world in which even the greatest women can be handily undermined by their personal lives. Sound familiar?

The Playcrafters Barn Theatre brings another of Agatha Christie’s mysteries to life with its production of Murder on the Nile, directed by Karen Riffey. With twists, gunshots, and more exposition than you can shake a fully loaded pistol at, this play will no doubt please fans of the genre.

Mischa: Kristin Wetherington absolutely delivered. From start to finish, she commanded the audience’s attention, with carefree positivity at first, then convincing anguish as the story reached its emotional climax.

Kitty: I was also really impressed by her ability to maintain a consistent, believable Italian accent throughout, both in her speaking and her singing.

The Timber Lake Playhouse tries something new with its world-premiere musical Glü. Directed by Tommy Ranieri, and with a book and lyrics by Jake Lockwood and music and lyrics by Alexander Sage Oyen, this heartwarming tale gives audiences a chance to see something local, and possibly even familiar.

Jordan Harrison's Marjorie Prime script is both dramatic and funny, and Jennifer Kingry's cast of four excels at being both.

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