Hassell’s physical movements take on the patterns of speech, as the articulated rhythms of his monologues become poetry.

One scene, that I won't give away here, involves the destruction of some rare art history books on a coffee table. It's one of the wildest (and stomach churning) gags in recent memory.

There's a Kevin Smith vibe to Annie Baker's presentation that soaks the affair with a gritty, slow motion tension of sorts.

Perhaps leaders of small radical organizations have the same issues as men of short stature, masking insecurity with bluster.

The deep exploration of the necessity for forgiveness, and how forgiveness itself redeems is a central axis of this work. However, this approach is not sufficient to redeem the play itself.

The African-American Shakespeare Company version of Julius Caesar was effective, in part because the love of the original language seemed palpable.

This show is hugely effective, in part because Matt R. Harrington and Kimiye Corwin deliver flawless performances. Moreover, the richly appointed set, costuming, and music interspersed between what passes for individual acts take this play to a whole new level.

The centerpiece is an impressive performance by David Strathairn; one that anchors the production with much needed levity, and sly charm. He's a bit aloof we're led to believe - "Bloomsday"? It's also the first show I've seen to reference Canadian Tire.

This extended duration provided the cast with time to ripen into these roles – making the the work like a perfectly ripe fruit, bursting the skin at this week’s opening for audience delectation.

This flicker of intelligence ended in act II, which proffered a steady drumbeat of bad dinosaur rock. Suffice to say if you’ve had enough of the '70s, you’ll cringe at Toy Story 3.