Monday, October 28, 2013

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Sunday, October 27, 2013

Meet Me In St. Louis ... in Pennsylvania

Bucks County Playhouse has announced members of the cast and creative team for the 2013 holiday show Meet Me in St. Louis: A Live Radio Play, set in a similar fashion as last year’s Bucks County holiday show It’s A Wonderful Life: A Live Radio Play, both adapted by Joe Landry.

Featuring direction by Playhouse alumni Gordon Greenberg and choreography by Lorin Latarro the cast includes Broadway's Geoff Packard, Jay Russell and Broadway and Bucks County alumni Garth Kravits, Lauren Molina and Chelsea Packard. Additional casting will be announced soon.

The creative team for Meet Me In St. Louis: A Live Radio Play includes Nicole V. Moody (Costumes), Ed Chapman (Sound Design), and Phil Reno (Music Direction).

Based on The Kensington Stories by Sally Benson and the MGM motion picture "Meet Me In St. Louis" starring Judy Garland, the stage play will feature songs by Hugh Martin and Ralph Blaine, including the classics such as: “The Boy Next Door,” “Skip To My Lou,” “The Trolley Song,” “Have Yourself A Merry Little Christmas” and is adapted from the book by Hugh Wheeler.

Performances run from Wednesday, Dec. 4 through Sunday, Dec. 29 at the Bucks County Playhouse, 70 South Main St., New Hope, PA. Tickets and info:; l215-862-2121.

Kids' Night on Broadway 2014

The Broadway League announced today that the dates for 2014 KIDS’ NIGHT ON BROADWAY® will be from Monday, February 24, 2014 to Sunday, March 2, 2014. Tickets to participating shows will be available to the public on Wednesday, January 8th, 2014. Theatre fans who join The Broadway Fan Club are eligible for special pre-sale opportunities.

KIDS’ NIGHT ON BROADWAY is when kids ages 6 to 18 can see participating Broadway shows for free when accompanied by a full-paying adult. A KIDS’ NIGHT ON BROADWAY ticket includes pre-theatre activities, restaurant discounts, parking discounts, educational programs, and more.

The 18th annual KIDS’ NIGHT ON BROADWAY will kick off in New York City. Details and participating shows to be announced.

KIDS’ NIGHT ON BROADWAY will also take place in multiple cities around the country, with different shows and venues putting their own spin on the event, on numerous dates throughout the year. Check for specific dates and locations.

Broadway Review: The Snow Geese

Snow Geese Doesn't Make Our Emotions Fly
By Lauren Yarger
A group of people argues and talks over each other sentences for a while, obviously upset about something, but what that might be is much less obvious.

So begins The Snow Geese, Sharr White's puzzling play getting a Broadway run by Manhattan Theatre Club. And perhaps it would have been best if it ended there too, for it never engages us, causes us to care for any of the characters, -- save one -- and never fully justifies its presence in a Broadway theater given all the really great plays out there just waiting to be produced.

Propelling the production is its star, Mary-Louise Parker, a terrific actress whom I was looking forward to seeing on stage. The Snow Geese teams her again with Proof Director Daniel Sullivan. They both took home Tonys for that one. MTC also might have been banking on their success last season with White's play The Other Place, which earned its star Laurie Metcalf a nomination.

Whatever forces joined to result in this production, they aren't enough to make it interesting. The Gaesling family is in crisis (hence the argument at the dinner table). The patriarch, Teddy (Christopher Innvar) died two months ago and his grieving wife is in denial, big time. She has other things to worry about any way, like eldest son, Duncan (Evan Jonigkeit) getting ready to ship off to the front (it's 1917, by the way). Second son, Arnold (Brian Cross) has discovered that his father was a terrible financial manager and the family is broke.

And to the mix poor relations (and unfortunately for the time, German-accented) Max Hohmann (Danny Burstein) and his wife, Clarissa (Victoria Clark), who take up residence at the Gaesling family hunting lodge just outside Syracuse, after their home is burned by German haters. Angst is in the air as Duncan hopes to enjoy one last hunt for snow geese before shipping out.

The parts of the plot and play never come together, though, as though White took aim at the material with buckshot instead of a sharp-shooting rifle. Yes, we get that Duncan is selfish. Yes, we get that Elizabeth (Parker) would rather fantasize about being with her dead husband than live in reality. Yes, we get (thanks to Ukrainian maid and war refugee Victorya Grayaznoy (Jessica Love) that Americans are a bunch of spoiled, naive and ungrateful people. But do we care? Not much.

Clarissa, the one character for whom we feel some warmth, acts like a mother goose to fluttering Arnold when his own mother isn't really available. Is it any coincidence that the family's name seems so close to the word gosling?

The set and period costumes (designed by John Lee Beatty and Jane Greenwood) are nice to look at. My favorite part of this play was a projection effect that creates a flutter of startled geese flying around the stage (Rocco DeSanti, projection design). Not much else excited me.

It's a shame, because  there is some pretty extraordinary talent up there on stage with very little to do. Sullivan is one of the best directors on Broadway and MTC has a built-in subscription audience. Too bad all those positive elements come together in play that isn't worthy.

The Snow Geese plays at the Samuel J.  Friedman Theatre, 261 West 47th St., NYC through Dec. 15.

Christians might also like to know:
-- Lord's name taken in vain
--Sexual dialogue and activity

Broadway Theater Review: A Time to Kill

Fred Dalton Thompson, John Douglas Thompson, and Sebastian Arcelus. Photo: (c) Carol Rosegg
A Page-Turner Without the Pages
By Lauren Yarger
It's a John Grishma page turner, with all of the elements we expect: a horrible crime, an impossible case and intrigue in the courtroom. This A Time to Kill is on stage, however, not in the pages of a book, as Rupert Holmes excellent adaptation of the best-selling thriller comes to Broadway.

This version, directed by Ethan McSweeny, is every bit as as sharply written as the original -- a nail biter that has us engaged and eagerly anticipating the verdict every second of the two-and-a-half hour drama -- even if we already have read the book.

The drama takes place in early 1980s Mississippi where racial tensions are anything but relaxed. A 10-year-old girl has been raped by two white men. Her father, Carl Lee Hailey (John Douglas Thompson), decides to take justice in a highly white county into his own hands and kills the suspects while they are in jail awaiting trial.

Hailey asks white attorney, Jake Brigance (Sebastian Arcelus), who get along well enough with Blacks around Ford County, including Sheriff Ozzie Walls (Chike Johnson), to take his case. Jake has a reputation for winning cases, especially against DA and nemesis Rufus R. Buckley (Patrick Page), who hopes publicity from the controversial trial will propel him to the governor's mansion.

Overwhelmed in his one-man practice, Jake turns to law mentor Lucien Wilbanks (Tom Skerritt), who takes a break form his inebriated existence in forced retirement on a Caribbean island to offer his assistance. Wilbanks produces fellow drunk, W. T. Bass (john Procaccino) to testify that Hailey's mind snapped upon learning the circumstances of his daughter's rape and that he can't be held accountable for his actions. When Buckley challenges Bass' credibility as an expert witness, Wilbanks starts hatching a plot to buy off the jury.

Also assisting Jake is hot-shot legal intern Ellen Roarke (Ashley Williams) who offers her cracker-jack research skills -- along with anything else Jake might be interested in while his wife and daughter are out of town to avoid threats against them by the Ku Klux Klan, which  isn't exactly happy about a white man defending Hailey.

Jake and his client stick with each other, however, despite urging from the rape victim's mother that her husband should allow the NAACP to take over his defense. Jake just lives in a different world, she argues.
Gwen (Tonya Pinkins) also isn't happy that Carl's actions have left her without his paycheck, alone to cope with their traumatized daughter while worrying about whether he will end up in the gas chamber.

The second act is all trial with the audience brilliantly positioned as jury.

McSweeny may have selected Arcelus more for his resemblance to Actor Matthew McConaughey, who starred in the 1988 movie, than for his ability to portray the affable, but go-for-the-jugular attorney. John Douglas Thompson is riveting in his portrayal of Hailey. We're never quite sure how much he lost -- or took -- control  over the situation. The ensemble here, is top notch.

Also turning in excellent performances are Pinkins, Page and Fred Dalton Thompson as Judge Omar Noose. A slip in dialogue was deftly handled by Thompson and Page the night I attended.

Grisham's legal thrillers have readers flipping pages from start to finish. Holme's really excellent stage adaptation creates the feeling for the live experience. My complaints: a rotating and expanding set (James Noone, design) and the use of projections (Jeff Sugg, design) and upbeat music (original music and sound design by Lindsay Jones), all of which are out of place and distract form the drama.

A Time to Kill runs at the Golden Theatre,252 W. 45th St., NYC.

Christians might also like to know:
-- The description of the rape is detailed and graphic.
-- Lord's name taken in vain

A Christmas Carol Will Play in New York

A Christmas Carol ( the new stage adaptation by Patrick Barlow (39 Steps) has announced casting for its upcoming holiday engagement at Theatre at St. Clement's (423 W. 46th Street). 

A Christmas Carol begins performances on Nov. 16th with opening night set for Monday, Nov. 25.

The cast of A Christmas Carol features Peter Bradbury (Cyrano De Bergerac, Picnic) as Scrooge with Mark Light-Orr, Jessie Shelton,  Franca Vercelloni, and Mark Price playing all of the other roles.

Tickets, priced at $75, are available at or by calling 212-239-6200. Premium seating is available.

Casting Announced for 2014 Broadway Staging of Les Mis

Ramin Karimloo 
Joining the cast of the new Les Miserables headed to Broadway this Spring are Ramin Karimloo (West End and current star of Les Misérables in Toronto, and The Phantom of the Opera and Love Never Dies in London) as Jean Valjean; Will Swenson (Tony Award-nominated star of Broadway’s Hair and Priscilla Queen of the Desert) as Javert; Caissie Levy (West End and Broadway star of Ghost and Hair and Elphaba in Broadway’s Wicked) as Fantine and Nikki M. James (Tony Award winner for The Book of Mormon) as Eponine. 

 The official opening night for Les Miserables is
Sunday, March 23. Additional casting, including the roles of Marius,
Cosette, Enjolras and the Thenardiers, will be announced in the coming

This newly re-imagined Les Miserables is still breaking box-office records
and receiving rave reviews across North America, grossing more than $160
million. Cameron Mackintosh’s production of Les Miserables is written by Alain
Boublil and Claude-Michel Schönberg and is based on the novel by Victor
Hugo. It has music by Schönberg, lyrics by Herbert Kretzmer
and original French text by Boublil and Jean-Marc Natel, original
adaption by Trevor Nunn and John Caird and additional material by James

The new production is directed by Laurence Connor and James Powell, designed
by Matt Kinley inspired by the paintings of Victor Hugo with costumes by
Andreane Neofitou and Christine Rowland, lighting by Paule Constable, sound
by Mick Potter and projections by Fifty-Nine Productions.

Read a review of the tour of the new staging, which played at the Bushnell in Hartford, CT, here. (And look for an interview here with J. Mark McVey, who has played the role of Jean Valjean more often than any other actor, coming soon on Reflections in the Light).

Friday, October 25, 2013

Broadway Theater Review: The Winslow Boy

Taut Production Explores the Knots in Family Ties
By Lauren Yarger
Just how far will a parent go to protect his or her child? In the case of  Broadway's The Winslow Boy, the answer is all the way -- and maybe too far -- both at the same time.

The Old Vic's production of Terence Rattigan's play is getting a stellar staging by Roundabout Theatre Company, under the careful direction of Lindsay Posner. Roger Rees and Mary Elizabeth Mastrantonio head the cast as the parents, Arthur and Grace Winslow who enjoy a peaceful life in pre-World War I Kensington, England.

Their daughter, Catherine (Charlotte Parry), is newly engaged to John Watherstone (Chandler Williams), a respectable military chap from an upstanding family who doesn't exactly approve of Cate who shows much more emotion about her cause of women's suffrage than she does outward affection for John. Arthur's gift of a settlement on Cate is welcome, since the couple will have to live on John's meager Army salary and an allowance he receives form his father.

Dickie (Zachary Bolt) gets by at Oxford, but can't compete with the perfection -- at least that's how Dickie thinks everyone sees him -- of younger brother Ronnie (Spencer David Milford), who is studying at Arthur's alma mater, the Royal Naval College at Osborne.

The biggest threats to their peaceful existence come from their overly familiar parlor maid, Violet (Henny Russell) and the awkward position Cate's engagement has put the family solicitor, Desmond Curry (Michael Cumpsty) in since he has been in love with her for years. That's until one Sunday morning in July when Ronnie comes slinking home, expelled form school after being accused of forging a signature on a postal note and stealing 5 shillings.

Arthur makes it his goal in life to clear the boy. He re-appropriates funds allocated for Cate's settlement and Dickie's schooling to hire the best attorney in England: Sir Robert Morton (a very impressive Alessandro Nivola to take the case. Dickie is forced to accept a position at his father bank and Cate's wedding plans might be scrapped as John is influenced by the loss of his allowance and in the face of the growing attraction between Cate and Morton. Initially in support of her husband's efforts to defend their son's name, Grace comes to wonder whether the case known as "The Winslow Boy," was worth the sacrifices, especially in light of Ronnie's own lack of concern about it.

The acting and directing here are superb making the two-hour-45-minute run time breeze by. The sets and costumes (designed by Peter McNish) are nice to look at too.

The Winslow Boy runs through Dec. 1 at American Airlines Theatre, 227 West 42nd St., NYC. Tickets:

Christians might also like to know:No content notes

Broadway Theater Review: Big Fish

Kate Baldwin and Leo Norbert Butz. Photo: Paul Kolnik
The Story Gets Lost in a Sea of Big-Splash Effects
By Lauren Yarger
The latest attempt to turn a movie into a Broadway musical has landed a little like a fish out of water.

Big Fish tries to make a big splash with 19 songs by Andrew Lippa (The Addams Family), big-number choreography by Director Susan Stroman and amazingly complex sets and costumes (designed by Julian Crouch and William Ivey Long), but all of the over-the-top action drowns out the really good story of a frustrated young man trying to get to know his big-tale-telling father before it's too late.

Edward Bloom (Norbert Leo Butz) and his son, Will (Bobby Steggert), never have had a great relationship. A traveling salesman, Edward wasn't around much and when he was, he was full of exaggerated stories. No longer a little boy (the young Will's role is shared by Zachary Unger and Anthony Pierini), Will wants to know the real story about who his dad is.

In Edward's stories, he always is the hero, saving his hometown from a giant (Ryan Andes), a witch (Ciara Renee) or a bully (Ben Crawford). The most beautiful woman, of course, is Will's mom, Sandra (Kate Baldwin) -- except in one. That one is about Edward's high school sweetheart, Jenny Hill (Kirsten Scott), whose name shows up for real in a mysterious document.

Will's new wife, Josephine, (Krystal Joy Brown), announces that they are expecting a son and when Edward's health starts to deteriorate, Will decides it is time to find the truth about his Dad and Jenny.

All of Edward's fantastic stories are brought to life in minute detail with a cast of characters, including, among many, many, many many others, a mermaid (Sarrah Strimel), the fortunetelling witch and  her backup chorus of twirling swamp creatures), a bunch of cheerleaders, a human canon ball, dancing elephants and even the big fish that got away....

Long gets to use some of his color-changing fabric magic again (see Cinderella, also running on Broadway) with lighting (David Holder, design) and projection enhancement (Benjamin Pearcy for 56 Productions, design) that produce breathtaking effect. It, with the Stroman-signature choreography ( a chorus line of dancing swamp things and a dancing campfire?)  eclipses the book by John August, who adapts his screenplay from the 2003 movie starring Robin Williams, which was based on Daniel Wallace's novel.

Some questions arise in the parts of the story that we do catch like:

  • In a scene where a kid in the woods discovers a bug in his pants and his companions shine their flashlights on his shoes to coax it out. Don't bugs usually run from the light?  
  • Jenny says Edward hasn't returned to their hometown since he left, yet she knows Will's name 
  • The villagers are afraid of a giant, but the giant is agoraphobic and afraid to come out of his cave so how do they know he's there?
  • What are the names of Will's wife and mother? When I sat down to write this review, I couldn't remember. I'd lost them somewhere in the avalanche of visual stimulation and cool sound effects (Jon Weston, design).
  • Good heavens, there is still a second act to come? (This was my thought at about one hour and 15 minutes in when I realized we hadn't even come to intermission yet in the interminable collection of songs and scene changes.)

Lippa's twangy tunes are mostly not memorable, with some distracting orchestrations by Larry Hochman, but it is always a treat to hear Baldwin, who has one of the finest voices on Broadway, sing anything on a New York stage. Steggert lends his strong voice to his songs and a solo, "Stranger" is particularly nice.

Big Fish splashes at the Neil Simon Theatre 250 West 52nd St., NYC. For tickets and info: You can view a sneak peek video there to see some of the action.

Christians might like to know:
-- God's name taken in vain
-- Scantily clad actress
-- The witch uses a crystal ball to predict Edward's fate.

Theater Review: The Glass Menagerie

Zachary Quinto, Cherry Jones, Brian J. Smith and Celia Keenan-Bolger. Photo: Michael J. Lutch
A New Way to Reflect on an Oft-Seen Classic
By Lauren Yarger
Tennessee Williams' The Glass Menagerie is one of his most produced plays. In New York alone, we just saw Roundabout Theatre Company's Off-Broadway version (via Long Wharf in Connecticut) with Judith Ivey in 2010.

On Broadway, Jessica Lange and Julie Harris starred in 2005 and 1995 following version with Jessica Tandy following three other versions back to the original in 1946. (My personal favorite, is a 1973 TV version, believe it or not, with Katharine Hepburn).

It's back again on Broadway in an exquisitely-staged American Repertory Company production  with Cherry Jones in the role of Amanda, a controlling mother obsessed with finding her daughter a gentleman caller while smotherng her writer son, a hardly disguised version of Williams himself.

The play is enjoyed as a vehicle for meaty female roles -- fierce Amanda and shy, "crippled" daughter Laura (here, Celia Keenan-Bolger). Look for Tony award nominations for both.

As compelling as their performances are, the real stars of this production, directed by John Tiffany, might just be Bob Crowley (sets and costumes) and Natasha Katz (lighting design). Look for nominations here too. Together they have created the isolated world of a fading southern beauty hanging on to to memories of her youth -- an island floating on a lake of reflection.

The story is told from Tom's point of view. Zachary Quinto steps into this role with authority and truth be told, the persona of Williams himself. It really s his tale to tell and Quinto makes us understand both the writer's love and loathing for his mother and sister (at risk of repeating myself, it's a nomination-worthy performance). He addresses the audiences directly at beginning and end to frame the memories surrounding one particular night when Tom brings a friend to dinner at the family's apartment.

The "gentleman caller" (Brian J. Smith) turns out to be a boy who had been kind to Laura in high school (and played here as a happy-go-lucky guy not as sensitive to Laura as we have come to expect.)  He wins her confidence and she entrusts him with a piece of her glass menagerie-- a collection of glass figurines that provide the only beauty or happiness in the bleak life of a girl so isolated that she fades into the folds of a sofa without notice (with the help of Crowley and Katz). The menagerie itself is represented by one spotlighted crystal piece and hundreds of lights of point reflected in a pool below.

The pool is fascinating -- quietly undetectable until it reflects an upside-down image of the reality taking place above it. This alter-reality just below the surface  beckons to Tom, who leans over the jagged edges of his world in thoughts of escape. It's exquisite staging. You might want to consider a mezzanine seat for this show to get the full effect.

The barebones staging and props balance the impact of the special effects. One scene in particular, where Amanda and Laura flip a non-existent tablecloth, brings home the idea of "what's real?"

This Glass Menagerie has great performances, but the visionary staging gives lots of room for reflection on the play's themes.

The Glass Menagerie has been extended through Feb. 23 at the Booth theatre, 222 West 45th St., NYC. For tickets and information:

Note: Ladies, don't plan on using the restroom at this theater. Half the line won't get through before curtain.

Christians might also like to know:

  • No content notes.

Monday, October 7, 2013

Photos: At the Episcopal Actors' Guild's 90th Anniversary Gala

Scenes from "90 Years of Broadway: EAG's Theatrical Journey," a benefit gala held last night at New York Open Center.

The event was sold out with 150 attendees enjoying a cocktail hour and show, written by Fran Handman and directed by Mark York. Jim Dale was the MC and also performed "There's a Sucker Born every MInute" from Barnum.
Ellyn Marie Marsh (Kinky Boots) sang Don't Rain on My Parade
Sarah Rice: And I Was Beautiful
Jennifer Fouche wowed the crowd with a humorous take on Bring on the Men

Heather MacRae performed Surrey With the Fringe on Top
Marni Nixon charmed with two tunes: All the Things You Are and One More Kiss, performed with Sarah Rice

Tonya Pinkins (A Time to Kill) sings My Funny Valentine

Lee Roy Reams did a medley of tunes from Hello Dolly.
Carol Lawrence improvised a line of male dancers from the attendees.

Alicia Sable performed It's a Perfect Relationship.

Jayne Summerhays: Don't Blame Me

Jana Robbins reprises "Everything's Coming Up Roses
Carol Lawrence and Walter Willison, who reprised I Do Not Know a Day I Did Not Love You from Two By Two. 

Gracewell Prodiuctions

Gracewell Prodiuctions
Producing Inspiring Works in the Arts
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Our reviews are professional reviews written without a religious bias. At the end of them, you can find a listing of language, content or theological issues that Christians might want to know about when deciding which shows to see.

** Mature indicates that the show has posted an advisory because of content. Usually this means I would recommend no one under the age of 16 attend.

Theater Critic Lauren Yarger

Theater Critic Lauren Yarger

My Bio

Lauren Yarger has written, directed and produced numerous shows and special events for both secular and Christian audiences. She co-wrote a Christian musical version of “A Christmas Carol” which played to sold-out audiences of over 3,000 in Vermont and was awarded the Vermont Bessie (theater and film awards) for “People’s Choice for Theatre.” She also has written two other dinner theaters, sketches for church services and devotions for Christian artists. Her play concept, "From Reel to Real: The Jennifer O'Neill Story" was presented as part of the League of professional Theatre Women's Julia's reading Room Series in New York. Shifting from reviewing to producing, Yarger owns Gracewell Productions, which produced the Table Reading Series at the Palace Theater in Waterbury, CT. She trained for three years in the Broadway League’s Producer Development Program, completed the Commercial Theater Institute's Producing Intensive and other training and produced a one-woman musical about Mary Magdalene that toured nationally and closed with an off-Broadway run. She was a Fellow at the National Critics Institute at the O'Neill Theater Center in Waterford, CT. She wrote reviews of Broadway and Off-Broadway theater (the only ones you can find in the US with an added Christian perspective) at

She is editor of The Connecticut Arts Connection (, an award-winning website featuring theater and arts news for the state. She was a contributing editor for She previously served as theater reviewer for the Manchester Journal-Inquirer, Connecticut theater editor for and as Connecticut and New York reviewer for American Theater Web.

She is a Co-Founder of the Connecticut Chapter of the League of Professional Theatre Women. She is a former vice president and voting member of The Drama Desk.

She is a freelance writer and playwright (member Dramatists Guild of America). She is a member if the The Outer Critics Circle (producer of the annual awards ceremony) and a member of The League of Professional Theatre Women, serving as Co-Founder of the Connecticut Chapter. Yarger was a book reviewer for Publishers Weekly A former newspaper editor and graduate of the University of Missouri’s School of Journalism, Yarger also worked in arts management for the Bushnell Center for the Performing Arts, the Hartford Symphony Orchestra and served for nine years as the Executive Director of Masterwork Productions, Inc. She lives with her husband in West Granby, CT. They have two adult children.


All material is copyright 2008- 2022 by Lauren Yarger. Reviews and articles may not be reprinted without permission. Contact


Key to Content Notes:

God's name taken in vain -- means God or Jesus is used in dialogue without speaking directly to or about them.

Language -- means some curse words are used. "Minor" usually means the words are not too strong or that it only occurs once or twice throughout the show.

Strong Language -- means some of the more heavy duty curse words are used.

Nudity -- means a man or woman's backside, a man's lower front or a woman's front are revealed.

Scantily clad -- means actors' private areas are technically covered, but I can see a lot of them.

Sexual Language -- means the dialogue contains sexually explicit language but there's no action.

Sexual Activity -- means a man and woman are performing sexual acts.

Adultery -- Means a married man or woman is involved sexually with someone besides their spouse. If this is depicted with sexual acts on stage, the list would include "sexual activity" as well.

Sex Outside of Marriage -- means a man and woman are involved sexually without being married. If this is depicted sexually on stage, the list would include "sexual activity" as well.

Homosexuality -- means this is in the show, but not physically depicted.

Homosexual activity -- means two persons of the same sex are embracing/kissing. If they do more than that, the list would include "sexual activity" as well.

Cross Dresser -- Means someone is dressing as the opposite sex. If they do more than that on stage the listing would include the corresponding "sexual activity" and/or "homosexual activity" as well.

Cross Gender -- A man is playing a female part or a woman is playing a man's part.

Suggestive Dancing -- means dancing contains sexually suggestive moves.

Derogatory (category added Fall 2012) Language or circumstances where women or people of a certain race are referred to or treated in a negative and demeaning manner.

Other content matters such as torture, suicide, or rape will be noted, with details revealed only as necessary in the review itself.

The term "throughout" added to any of the above means it happens many times throughout the show.

Reviewing Policy

I receive free seats to Broadway and Off-Broadway shows made available to all voting members of the Outer Critics Circle. Journalistically, I provide an unbiased review and am under no obligation to make positive statements. Sometimes shows do not make tickets available to reviewers. If these are shows my readers want to know about I will purchase a ticket. If a personal friend is involved in a production, I'll let you know, but it won't influence a review. If I feel there is a conflict, I won't review their portion of the production.

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