Bill Kamberger

Review: ‘Sweat’ at Everyman Theatre

Lynn Nottage last year became the first woman to win a second Pulitzer Prize for Drama thanks to her play Sweat, a dramatization of the collapse of the American unskilled labor market circa 2000, now...

Review: ‘La Cage aux Folles’ by ArtsCentric

“It’s rather gaudy, but it’s also rather grand,” the title song of La Cage aux Folles asserts of its titular drag club, and the same may be said of the musical that is set there, now receiving a...

Review: ‘Spring Awakening’ by StillPointe Theatre

Ryan Haase, the wunderkind behind StillPointe Theatre Initiative, ends the pre-show announcement for his current production of the musical Spring Awakening by urging us to “forget the craziness...

Review: ‘Night, Mother at the Strand Theater

In his classic acting guidebook Audition, Michael Shurtleff observed, “A murderer kills just one. A suicide kills the whole world.” Marsha Norman acknowledges as much in her Pulitzer Prize-winning...

Review: ‘Cat on a Hot Tin Roof’ at Baltimore Center Stage

Big Daddy in Tennessee Williams’ Cat on a Hot Tin Roof may boast of owning “twenty-eight thousand acres of the richest land this side of the valley Nile,” but in Center Stage’s comparably rich...

Review: ‘Unlucky Soldiers’ at Theatrical Mining Company

“This we’ll defend” is the motto of the U.S. Army, and the Theatrical Mining Company is going above and beyond to fulfill that commitment in its world premiere production of Robert Garcia’s Unlucky...

Review: ‘Shakespeare’s R & J’ at Vagabond Players

Paula Vogel facetiously called Othello “a play about a handkerchief,” but Shakespeare’s R & J, Joe Calarco’s all-male reconception of the Bard’s most famous love story now being presented by the...

Review: ‘Dancing at Lughnasa’ at Everyman Theatre

True magic happens not when we’re convinced that an illusion is true, but when we realize that it can’t be so yet still refuse to believe it isn’t. Such a spell is cast over the audience at Everyman...

Review: ‘Consent’ at Spotlighters Theatre

As audience members enter the Spotlighters Theatre to attend the Baltimore Playwrights Festival’s world premiere of Glennyce Lynn’s Consent, they pass signs warning against medical contamination, as...

Review: ‘King John’ at Baltimore Shakespeare Factory

King John of England was not a popular ruler, and Shakespeare’s play about him is not, to put it mildly, among his most popular works; indeed, it hasn’t been performed in Baltimore since 1781. The...

Review: ‘Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean’ at Cockpit in Court

By Bill Kamberger On September 30, 1975, twenty years to the day after the car crash that took the life of movie legend James Dean, six of his female fans gather at a convenience store in a...

Review: ‘The Little Mermaid’ at Cockpit in Court

By Bill Kamberger Ironically enough for a story that is propelled by sibling rivalry and longing for a better life, the stage adaptation of The Little Mermaid has always been a bit of a neglected...

Review: ‘Late Night Double Feature Improv Show’ by Fells Point Corner Theatre

By Bill Kamberger Improv is life; after all, we do it every day. And since many would claim that theater is life, performing improv in a theater seems only natural. There’s a reason, though, that even...

2018 Capital Fringe Review: ‘Gilded’

By Bill Kamberger Conceived and choreographed by Kristen Brooks Sandler for Harlot Productions, Gilded depicts “a steampunk monarchy in decline,” including two illicit love affairs, Byzantine intrigue...