They say you can’t remember pain. Maybe you can’t remember pleasure either. What does it matter, it’s all glitter anyway, isn’t it? What day is it? I scarcely know myself. Thursday, I think. Likely Friday by the time this makes print. Likely Friday by the time this show opens. Truth or illusion, though that might be the wrong Albee. Have to keep these things delicately balanced, you know. If you’re looking for something theatrically impressive,
Are you eccentric enough to believe in the soothing power of culture? Theatre is meant to be culture. Dark comedies are meant to be funny. And Yasmina Reza’s darkish-comedy God of Carnage (as translated by Christopher Hampton) certainly has its moments in the upstairs cabaret theatre space of Cockpit in Court, the first of two non-musicals included in the 2026 summer season. Directed by Gabriel Lewin, this edgy dark deviance divulges into the territory of “what happens when adults behave like children and fail to act like th grown-ups that they’re pretending to be?”
I’ve seen shows in the cabaret theatre space of Cockpit in Court since 2012,
All religion is a mania. And the maniacs are going to be coming after Charles Busch (the farce-loving playwright) for The Divine Sister. How do you solve a problem like Maria? Or a problem that you— ‘can’t face’? (Put that one in a British accent while you’re at it) well…take a hearty dose of holy high hilarity down at Vagabond Players to close out their 110th season. Whoever greenlit this one as the season closer has got a bone to pick with the big guy upstairs… or big girl?
Just sit right back and you’ll hear a tale, a tale of a Duke o’er-thrown
That ended him and his daughter dear, on an island all alone.
Though not so alone as they thought they were— among spirits of earth and air
And then a conjured-magic sea-spun storm that brought their en’mies there.
The plot then thickens there, my friend, and there’s so much more to say
About the entities and denizens that populate this play
Magic.
author: Rick Bergmann
By the Way, Meet Vera Stark Balances Screwball Comedy and Sharp Cultural Reckoning
By the Way, Meet Vera Stark by Lynn Nottage, now showing at Laurel Mill Playhouse, sets out to do a lot—and nearly pulls it off. First produced in 2011, the play examines the legacy of African Americans in Hollywood, skewering racial stereotypes while reveling in the conventions of classic cinema and theater.
You need seasons to mark where you are. It’s currently winter season; halfway through the darkness— halfway through season 77 at The Colonial Players of Annapolis. And they’re bringing you Other Desert Cities by Jon Robin Baitz. Directed by Laura Gayvert, this edgy, albeit questionably dated, drama hits hard with its deep questions of family dysfunction when secrets threaten to unravel pre-existing ways of life.
While the play itself isn’t wholly ‘dated’ there are references that for the younger audiences will be obscure and it certainly bears the signature of its timestamp.
author: Rick Bergmann
Conscience on Trial: A Man for All Seasons at Kentlands Community Players
One of the ongoing frustrations of community theater is how often companies return to the same familiar titles. Box-office logic tends to favor what is popular and proven, even if it means repeating shows audiences have seen many times before. That is why it is genuinely exciting when a theater announces a new work—or, as Kentlands Community Players has done this week,
Art and entertainment are not mutually exclusive; something can tickle your funny bone and give you great pause for appreciation. And vice versa. It’s what Ian Shaw & Joseph Nixon’s script The Shark is Broken sets out to prove. It’s now appearing— the area community premiere— at Vagabond Players, kicking off the back-half of the 110th season! Directed by Stephen Deininger, this fast-paced, truth-based theatrical engagement gives audiences a deeper look at what really happens when filming for a movie gets stalled in tight quarters.