"Clarence Darrow," through March 30 in the Subversive Theatre Collective's Manny Fried Playhouse. ★★★½
From the review: "The production, directed by Tom Loughlin, provides a breathless tour through Darrow’s life and landmark accomplishments. It ranges from Darrow’s stunning performances, perhaps the most notable of which is his widely re-enacted defense during the Scopes Monkey Trial of 1925, to his troubled relationships with the unions whose members he worked tirelessly to defend." --Colin Dabkowski
Dublin playwright and screenwriter Peter Sheridan presents his one-man show "Break a Leg" Sunday in the Andrews Theatre.
From the review: "The piece, adapted from Sheridan’s memoir of the same name, is a master class in storytelling. Rarely does your attention even threaten to waver from the characters he impersonates, the songs he sings or the stories he tells about a life spent in love with the theater." --Colin Dabkowski
Tod Benzin and Pamela Rose Mangus in Donna Hoke's new play "Seeds," running through Marc 24 in the Road Less Traveled Theatre. Photo by Charles Lewis / The Buffalo News.
"Seeds," through March 24 in Road Less Traveled Theatre. ★★★★
From the review: "Simply put, the instructional, observant and insightful “Seeds” is Hoke’s best work to date..." --Ted Hadley
Tim Lewis and Cassandra Angerosa star in Lancaster Opera House’s production of “Oklahoma!” ( Harry Scull Jr. / Buffalo News)
"Oklahoma!" through March 17 in the Lancaster Opera House. ★★★
From the review: "Weak productions of 'Oklahoma!' tend to amplify all its simplistic plot turns and schlocky lyrics. Smart ones such as this highlight the irresistible spirit of American optimism it embodies and all the innovations of Agnes De Mille’s choreography and staging it introduced to musical theater." --Colin Dabkowski
"First Lady Suite," through March 16 in an American Repertory Theatre Production at The Church of The Ascension. ★★★½
From the review: "[Michael John LaChiusa's] score flows freely from Gershwin to Sondheim to Philip Glass to even William Finn, relying on their proven textures while refusing to mimic them. It’s quite a feat, especially considering that it’s played –- masterfully, easily, it would sound –- on an electric keyboard by music director Michael Hake, whose passion for musicianship imbues every sound we hear." --Ben Siegel
From the review: "Shepard’s theories are once again aided by his usual themes: desperation, isolation, violence, temper, deceit. Add incest, murder and the always present Shepard staple, menace, and you have the makings for an uncomfortable, albeit intriguing, night at the theater, one interminable at times, riveting at others." --Ted Hadley
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