Smart and witty, this production, directed by incoming Aurora artistic director Josh Costello, arrives just when we need it the most. Sometimes it’s therapeutic just to laugh.
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.
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 compelling play is a creative exploration of the causes and effects of the 1967 Detroit riots from the viewpoint of members of a black family living there at the time.
We talk to the artistic director who is stepping down at the end of the 2019 season after 27 years with the Berkeley theatre company.
The playwright's goal was to create a realistic depiction of Berkeley residents and the situations in which they embroil themselves. He isn't mocking anyone, he says.
Tom Stoppard's 'The Real Thing' combines intelligence, emotion and wit in a multifaceted play about love.
Aurora’s new production of “Master Harold” … and the boys is a brilliant evening of theater. Its playwright is South Africa’s Athol Fugard, whose internationally respected anti-apartheid works include Blood Knot, Boesman and Lena, and My Children! My Africa! “Master Harold’s” cast of three, L. Peter Callender, Andrew Humann and Adrian Roberts, are all superb in their roles. And Timothy Near’s discerning direction perfects the production.
The super-creative David Ives has created a priceless combination of an 18th-century bawdy French farce and 21st-century clever American comedy.
It’s a rare treat when an evening at the theatre can engross, educate and entertain, all in one performance.
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.
Although The Monster-Builder is at times captivating, I’m still a bit flummoxed by its construction. It’s mostly a comedy that interlaces cogent comments about post-modern architecture. However, it awkwardly mixes its moods, alternatively presenting satire, farce and sex-capades with observations on building design, but without creating an integrated theatrical experience.