Playwright Anna Ziegler delivers a taut and thoughtful exploration into the angst of the beginning days of college, as students struggle to discover who they are and who they want to be.
Can a musical set in conservative Ireland in the mid-60s resonate in the secular liberal environment of the Bay Area of 2019? Berkeley’s Youth Musical Theater Company believes it can.
'Wonderland' has some intriguing ideas and pointed comments about the U.S.’s current political situation, but too little of its time is spent on analysis, action and climax.
The Berkeley theater company's new artistic director is an internal appointment who says his life’s work is to share the unique and visceral power of live theater with other people.
This dark August Strindberg play, well-directed by Barbara Damashek, is riveting in parts and upsetting in others.
This 2019 co-production with the Guthrie Theater is even more powerful, more effective and ultimately more satisfying than the Berkeley Rep’s original 20 years ago.
Maddy Trumble, in "Paradise Square," and Anne Yumi Kobori, in "Every Day Alice," say their Berkeley upbringings shaped the actresses they are today.
An abundance of talent is evident on and behind the stage, and the production is of the highest professional caliber, yet this musical seems to lack that ephemeral quality that makes a show a memorable experience.
The stimulating play presents a fascinating glimpse into the all-too-human life of a genius, aided by excellent acting.
Patrick Dooley’s first-rate direction, the uniformly excellent acting, and the intimacy of the Ashby Stage all help to make this production a remarkable success.
Nilaja Sun is an original talent with marvelous gifts, who fully uses her voice, body and expression in this one-person show directed by Ron Russell.
Novels don’t always translate well to the stage or screen, but Jonathan Safran Foer’s acclaimed 2002 debut is a notable exception.