René Augesen embodies the sly, sexually-charged Ruth with such unnerving nymph-like appeal, it's easy to see why the role is one of her personal favorites.

The primacy of live performance is nowhere more evident than the role played by the six basses that drive the Italian Symphony forward.

Did I mention we were sitting underneath a fully operating pizza joint? Consider those occasional bumps, screeches of a chair being dragged and knocks from the pipes to be bonus effects. This is theater that puts hair on your chest.

Central to the piece were the hints of Carabino (a piece sung by both Flicka and Cao – who both donned buckles worn by Maria Callas for the occasion).

This film noir-inspired production of Twelfth Night, The Bard’s most popular comedy, gets a provocative re-setting in the mid-1940s.

This is the kind of play where you just know it's not going to turn out well... that there will be bloodshed, tears, and certainly death. I won't give it away here, but the script transcends cliche and happenstance. So expect the unexpected.

Filled with all of the majestic themes, oversized characters, and gentle poetry that earned Williams his exalted position in American theater, The Eccentricities of a Nightingale was written in 1951 and debuted on Broadway in 1976 after being fine-tuned by Williams for 25 years.

For instance, during the "It's you Charley" scene, perhaps the most famous of all, sitting in the back of the car Moreno delivers the classic lines quite matter-of-factly, "I coulda had class. I coulda been a contender. I coulda been somebody."

Time and time again, the audience was confused as to what exactly was happening on stage.

With a dynamic cast, a great score, a funny script, and a harsh kind of honesty, this show has so much going for it - including that rarity of rarities, a second act that is just as strong as the first. Avenue Q signifies some kind of high water mark that keeps bringing us back to the theatre again and again.