MERCHANT ON VENICE has lofty ambitions, attempting to discuss highly controversial topics within a 3-hour arena.
Playwright Tanika Gupta finds the right formula to adapt Charles Dickens’ 1861 novel through an Indian perspective.
In this challenging and dividing cultural moment, there can perhaps be no greater longing than the one to make order out of chaos. And that is precisely why the characters in A DISAPPEARING NUMBER are so drawn to mathematics: that universe follows a separate and orderly reality—a reality far more comforting than the one in which these individuals (and the audience members) find themselves. It is a startling and lovely resonance, reinforced by Timeline’s equally lovely production.
In their season opener of Jesus Hopped the ‘A’ Train, Eclipse Theatre examines moral responsibility through the lenses of religion and the criminal justice system- two institutions occupied with salvation as much as flawed doctrine. And in this case, neither the Law nor God provides their constituents with a clear path to redemption.