The central theme is carried inexorably forward, much in the same way one can follow the direction of a ball in a game of pinball - the path may appear haphazard, but important points are scored along the way.

Perez brings such visceral intensity and electric physicality that you’ll be entirely wowed.

It was epic. It was memorable. It was a major comeback.

This is the one you want to see.

This wasn't supposed to happen. You know that sinking feeling you get? The curtain drops, and all of a sudden there's maybe a dozen actors all talking at each other, over top one another, in rapid-fire succession. Uh-oh, I can't keep up. And that bright, garish set, with a...

Russell delivers a performance that’ll give you shivers of recognition. You know this long-winded, self-serving, alpha male wanna-be who sucks the air out of the room.

The whole thing happens so organically, so subtly, that it seems to originate somewhere beyond the choreographer’s active imagination.

Actor Don Reed presents nine characters – beginning with Alberta – the first roadblock at the “appointments or no appointments” desk.

This is a spinet on stage, not a baby grand, and what de Waal does with it can make you rethink the possibilities of music.

A different way to wrap your mind around Head of Passes is to think of it as a variant of Joan Didion’s The Year of Magical Thinking – re-morphed culturally for the bayou and performed by a cast with killer acting chops.