Articles Tagged With: Paul Deo Jr.

The Importance of Being Earnest at Baltimore Center Stage ???? Michael Henniger.

The Importance of Being Earnest at Baltimore Center Stage

“The truth is rarely pure and never simple.” ~Oscar Wilde, The Importance of Being Earnest.

Well, say it ain’t so, hon! Because Baltimore Center Stage is closing out its 2023/2024 mainstage season with a wild new adaptation of Wilde’s fanciful comedy— The Importance of Being Earnest— and it’s just a delightful gem, serving as the perfect sparkling cap to the five-show season. Adapted and Directed by Jenny Koons,

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Hamlet (Free For All) at Shakespeare Theatre Company

Shakespeare Theatre Company brings its
Summer Free For All program to life for a 29th season, this year reviving its
2018 production of Hamlet, originally directed by Michael Kahn and
remounted by Artistic Associate Craig Baldwin, and starring Michael Urie as the
title role. The show is a power-packed run at over 3 hours, but a scattered
performance from the cast and an incohesive design leaves the audience feeling
every minute of it.

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Twelfth Night at Shakespeare Theatre Company

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Final boarding call for all passengers boarding flight STC-2017 to Illyria. All passengers please make their way to Sidney Harman Hall and follow the instructions of the flight attendant.

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The setup is astonishing, and at first a peculiar choice, but Director Ethan McSweeny’s conceptualization of Shakespeare’s Twelfth Night is nothing but gob-smacking by the play’s conclusion. Not unlike a cinematic psychological thriller,

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Review: Les Liaisons Dangereuses at Centerstage

  1. Only flirt with those you intend to refuse.
  2. A poor choice is less dangerous than an obvious choice.
  3. Never write letters.
  4. Always be sure they think they’re the only one.
  5. Win or die.

So are the Libertine Commandments recounted by the aristocratic temptress Marquise de Merteuil for her cohort in conspiracy the Vicomte de Valmont. Her credos just scratch the surface of the perverse dance in which the two engage in Christopher Hampton’s 1985 play,

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