In its own special way this comic odyssey, which is as dark as it is hilarious, is as wonderful and indelible as anything Frank Capra could have imagined.

Many refer to the story of The White Snake as "profound." Yet I have another take on it. Like, how many times have us guys fallen for a woman who turns out to be a snake?

At times, the play reminded me of the bold, uncompromising indie film We Need to Talk About Kevin (featuring a haunting performance by Ezra Miller); that hatred can seemingly run so deep, without explanation.

Wilder can be very funny, but his humor here is kitschy or weird, instead of revealing. His attempts at profundity, such as the repetitious Christmas dinner, left me feeling like a fidgety kid in need of an Adderall fix.

A.C.T. artistic director Carey Perloff remarks that Elektra “shows us what happens to a human being who cannot forget… Forgetting is, in fact, very healthy. If we lived with all the terrible things that happen to us, we’d never get through the week."

Rob Melrose astutely writes that in many ways, The Pelican is "the modern chamber version of Hamlet and Electra – a father murdered by the mother and her lover and the children needing to know where their loyalties lie and what revenge to take."

The musical energy in Memphisis everything that you'd expect from a score written by Bon Jovi keyboard player, David Byron, and with lyrics penned by Joe DiPietro.

In 'Freud’s Last Session' at San Jose Repertory Theatre the issue becomes more palatable wrapped as it is in everything from Freud’s 'Moses and Monotheism' to stories about Joseph Pujol, the “fartiste.”

By the time Andrew Jackson opined “I’m so that guy,” one wished that Romney or Obama had Davaran’s kind of energy.

Playwright Moisés Kaufman ('The Laramie Project') has penned a drama rich in historical detail, such as Beethoven’s notorious inability to keep household staff, his slovenly appearance, and his soup-stained manuscripts.