In his poetic play “A Moon for the Misbegotten,” Irish playwright Eugene O'Neill stated that “there is no present or future – only the past, happening over and over again – now.” Compatriot wordsmith Marina Carr took this sentiment to heart when writing “By the Bog of Cats.”

Perhaps it’s the deep, elusive and haunting quality of Anton Chekhov’s 19th century plays – where what appears at first glance to be deceptively simple reveals something ominous just beneath the surface – that has inspired so many contemporary retellings.

Kenneth Lonergan’s scripts for the stage and the screen (in 2017, he won an Oscar for “Manchester by the Sea”) are character studies – tightly focused meditations about small people who live their small lives in a minor key and are tormented by inner conflict.

“Every woman has a one-woman show in her,” says Oprah Winfrey in a recent issue of her mothership magazine, O.

The recently released “The Lion King” film – with its computer-generated herds of zebras, elephants and antelope, its virtual Serengeti and its turbocharged skyscapes – has been universally praised for its remarkable photorealism.

Like the directions to Oz that the Scarecrow offers Dorothy during their first encounter in the cornfield, there are two ways to go when approaching a stage production of “The Wizard of Oz.”

Is there a better time than now to escape to Meredith Willson’s musical comedy safe-haven of River City, Iowa in 1912? And is there a better place to do it than at the Porthouse amphitheater, summer home of the Equity actor-enhanced productions of Kent State University’s musical theater program?

It is generally agreed that no creative work by or about Jews has won the hearts of Americans as thoroughly as “Fiddler on the Roof.” The musical is a Yiddish-to-English adaptation of Sholem Aleichem’s 19th century stories about the dairyman Tevye, his family and the other Jews who populated…

An Israeli comedy troupe called Davai just made its U.S. premiere at Cleveland’s inaugural BorderLight International Theatre + Fringe Festival. And it did so with a remarkable, 90-minute slice of absurdist, non-verbal storytelling and masterful clownery that lives up to the “fringe” in the f…