With a quick glance at the synopsis, playwright Rebecca Gilman’s Luna Gale, now at Stages Repertory Theatre through May 28, would seem to possess all the serious markings of an issues play.
A woman takes a walk through the woods. She travels with a destination weighing heavy in her mind, an appointment to keep, yet along the way she meets a stranger by happenstance and everything changes.
I have a (admittedly unoriginal) theory that sooner or later, no matter what the perceived subject matter, every writer ends up writing about the act of storytelling, and every playwright ends up writing about acting during the act of storytelling.
If good playwrights tend to have discerning ears for the language and voices around them, then perhaps those wanting to produce a new kind of theater festival need to become the most sensitive of auditory aficionado as well. Kenn McLaughlin, artistic director of Stages Repertory Theatre in Houston, seems to subscribe to this theory because when the company began organizing their new play-reading event that would become Sin Muros: A Latina/o Theatre Festival, he knew the first act of creation was to be quiet and listen.
After a performance season filled with joyful starts, heart-breaking cancellations and casting understudies for the understudies when positive COVID tests rolled in, Texas theater companies have endured much real life drama to make the leap back to live performances.
The plays change but the players remain the same: Such is the model of a resident acting company, a group of artists who create theater together as a team.
If you are familiar with a certain popular space franchise enjoying a reboot right now, you might see some similarities with this years Panto at Stages Repertory Theatre, which promises to take us to a galaxy far, far away.
Ah, young love, that time in life when two star-crossed lovers might feel they exist in a world to themselves or the whole world is out to pull them asunder.
Science fiction has photon-torpedoed and robot-revolted its way into conquering almost every contemporary storytelling medium, with the possible exception of theater.
On rare occasion as a theater critic do I see a production that calls less for a review and more for a doctorate dissertation, but Jackie Sibblies Drury’s We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as South-West Africa, From the German Sudwestafrika, Between the Years 1884-1915 at Stages Repertory Theatre (now through April 1) feels like such a play.
As a curmudgeonly connoisseur of holiday performing arts, I’m always on the lookout for the innovative, quirky or simply new shows to devour like Christmas candy each most-wonderful-time-of-the-year