Agnes of God is still a blank slate
By BILL RODRIGUEZ | January 29, 2008
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Off the wall, Dark laughs, Pass the jelly, More 
- Off the wall
Unfortunately, while many passages of fervently gathered lyricism are thrust toward us like exotic bouquets between scenes of ordinary conversation, the poetry doesn’t accumulate impact.
- Dark laughs
When Tom Stoppard unleashed Rosencrantz and Guildenstern Are Dead on the London stage in 1966, he put the play back into plays.
- Pass the jelly
It came about “because I knew a girl who wanted to wear a tutu on stage.”
- The war games
The Cry of the Reed seems torn from some particularly gruesome headlines: kidnapping, beheading, such stuff as Daniel Pearl’s final dreams were made on.
- Paint by numbers
Edward Albee’s Three Tall Women are really one tall woman, and she’s a tall order.
- Dysfunction junction
A Delicate Balance is 40 years old now, but like the patrician clan at the frightened heart of it, the play has good bones.
- Both sides
Two young women are coming of age on stage as part of New Repertory Theatre’s “Their Voices Will Be Heard” series.
- The art of violence
The most frightening thing about this play is the prospect that less than first-rate actors can perform it, skating upon its sensationalism rather than sinking into its depths.
- Origins of a species
In her excellent theatrical pairing for Daniel Productions at the Players’ Ring, billed as 2 x 2 x 2 , director Liz Korabek juxtaposes two modern takes on the human quintessence.
- Future schlock
Academics with lifetime job security aren’t the only ones living in ivory towers, says playwright Christine Evans with Weightless .
- The war at home
Trinity Repertory Company has taken on a tricky assignment: examining how the Iraq War has affected us on the home front, in Rhode Island. Talk about minefields.
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