Virginia Stage Company’s electrifying production of Red, an intense and exciting drama by John Logan, is buoyed by brilliant performances, passionate direction, and exquisite design work.

As a matter of fact, I dare you to watch it and not fall madly in love with it.

Affluent intellectuals are reduced to acting like children.

It is an ambitious undertaking. The nearly three-hour long musical is almost completely through-sung, and every role is both vocally and dramatically demanding.

It is set in 1997 and, like all of Wilson’s plays, provides a thoughtful examination of the African-American experience at a certain time in history.

Theater Preview: Hurrah Players’ The Little Mermaid

The production never really seems to find its focus and many moments are problematic, but the high energy approach keeps the two-and-a-half hours interesting.

Associate Artistic Director Patrick Mullins weaves excellent performances together with outstanding design work to create a riveting, all too brief, examination of the rise and fall of a marriage.

Philip Odango’s new production of John Pielmeier’s Agnes of God is maybe the best local production so far this season.

Chronicling a day in the life of members of a small Virginia community, SCKBSTD is really about the American culture of paranoia.

Little Theatre of Norfolk’s new production of Oscar Wilde’s divine comedy “The Importance of Being Earnest” contains many fine performances, and an ambitious (if overwhelming) concept, which confuses more than it clarifies.

Jeremiah’s top shows, including productions from Generic Theater, Virginia Musical Theatre, Virginia Stage Company, Hurrah Players, and more.

Some of the jokes carry a sharp edge (enough so to elicit groans rather than laughter), but in the main this fun, funny play should connect well with local audiences.

This production seems to have roots neither in 1950s B-movie sci-fi schlock or in American musical theater. That doesn’t mean, however, that it isn’t entertaining.

Beauty and the Beast was a rousing success, and if it is any indication of the rest of the Hurrah season, we are all in for a big treat.

LTN boasts a new floor, new bright blue curtain, wider seats, and rebuffed bathroom and box office. All will be ready for Friday’s opening performance of ‘Forbidden Broadway.’

Whoa, Nellie. The latest offering at Generic Theater, a revival of Peter Shaffer’s psychological thriller Equus, directed by Philip Odango, is an embarrassing spectacle.

At the conclusion of director Lee Smith’s new adaptation of August Strindberg’s A Dream Play, currently running at ODU, the friend with whom I saw the show said, “That was weird and delightful!” I couldn’t say it better myself.

Virginia Stage Company’s production of Lorraine Hansberry’s classic A Raisin in the Sun is one of the finest theatrical offerings of this season.

The stage is set for a very witty, sometimes controversial, but always very smart rehash of the old debate about the Big Questions.

The performers on the stage are so talented, so poised, so confident, and so professional that I almost forget they are high school students.

A preview of the entire spring season, by our theater editor Jeremiah Albers.

The Civil War plays at the Sandler Center for the Performing Arts through Sunday, March 21.

The live-action stage version of the beloved film classic The Wizard of Oz, currently playing at Chrysler Hall, is either a delightful and enchanting musical for families or a tremendous waste of time, depending on your point of view.

Despite an attractive physical production and exceptionally clever staging, Virginia Stage Company’s production of the Jules Verne classic Around the World in 80 Days emerges as a surprisingly dull evening.

‘Fragments’ is a studied meditation on one of the more important humanitarian issues of our time, and it is sure to resonate with people who are close to military life.

Are big, expensive musicals like ‘Cats’ good for theater and culture at large? AltDaily theater critic Jeremiah Albers asks the question.

‘Letters for a Young Girl’, a new play by Philip Odango, is wholly compelling, utterly frustrating, totally fascinating, completely bizarre, and absolutely heartbreaking.

We are fortunate to be introduced to such a fascinating figure in so handsome and inspired a production as is currently on offer at the Wells Theatre.