The Village Bike is a contemporary British play by Penelope Skinner about a pregnant woman who isn't getting enough sex.
Sarah Ruhl's evocative play is a heartfelt tribute to family and the ways in which loved ones may ease the pain and loneliness of aging and mortality.
Shotgun Players prides itself on being “the little theater company that does big plays,” so producing its own extraordinary version of Hamlet seems absolutely appropriate. To begin its 25th season, Artistic Director Patrick Dooley assembled seven talented and gutsy players, who five minutes before the start of each performance pick names from a hat (actually Yorick’s skull) to determine which role each will play that evening. Although they’ve all rehearsed each part, to perform a major one, or two or three smaller parts, with so little prep time is incredibly difficult. It’s hard to imagine that Shotgun could pull this off, but the result at the evening I attended, was extremely successful. It’s different than other productions of Hamlet I’ve seen, but in a good way.
The super-creative David Ives has created a priceless combination of an 18th-century bawdy French farce and 21st-century clever American comedy.
A new play by MacArthur Fellow and Tony Award-winner Mary Zimmerman is always a reason to celebrate.
It’s a rare treat when an evening at the theatre can engross, educate and entertain, all in one performance.
The Broadway stars were shining on Berkeley for the opening of Macbeth at Berkeley Rep.
Although intellectually we understand that we will die, most of us try to avoid contemplating death — either our own or of those we love. Julia Cho’s poetic new drama, Aubergine, makes us confront the heartrending loss of a parent and the painful grieving process that follows. Interlaced with the theme of loss is food — and its invocation of childhood, memory and love.
Little Eyolf, one of Henrik Ibsen’s lesser plays, has been updated and up-ended by writer and director Mark Jackson in the Aurora Theatre’s world premiere production of Little Erik. In re-writing Ibsen’s 1894 plot into a superficially contemporary story about a hard-driving executive wife, a mercurial wannabe novelist husband and a disregarded disabled child, Jackson seems to be on the right track until the latter half of the one-act, 80-minute drama, where all goes awry, as the writing departs spectacularly from Ibsen’s original plot and veers into surprisingly shoddy melodrama.
BAMPFA’s new building is an absolute winner. The 82,000-square-foot home catapults Berkeley’s visual art scene into prominence — comparable to many larger, richer and better established West Coast institutions. It handsomely repurposes the former 1930s WPA UC printing plant building. Affixed to it is a brightly clad steel tube-like section that houses the new 232-seat Barbro Osher Theater, where films from its impressive archive of over 300,000 items will be regularly screened. There is also a 33-seat screening room and two film viewing booths available by appointment.
Since 1952, London audiences have been frightened, surprised and delighted by Dame Agatha Christie’s The Mousetrap, and Shotgun Player’s audience will be no exception. Under the talented direction of Shotgun’s Artistic Director, Patrick Dooley, with an outstanding cast and an elaborate stage set, this quintessential country house murder mystery seems as fresh, engaging and mysterious as it did 63 years ago.
The exceptional and intense Pulitzer prize-winning drama, Disgraced, is a timely and unflinching exposition into the power and perils of race and ethnicity in America. Talented novelist (American Dervish) and playwright Ayad Akhtar elegantly communicates these multifaceted concepts using only four main characters, whose lives change over the course of a social dinner.
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