Thursday, April 18, 2013

Metropolitan Ensemble "Pride's Crossing" review by Robert Trussell

Theater is all about make-believe, and any show — from William Shakespeare to Neil Simon — asks viewers to suspend their disbelief the moment they take their seats. In the case of the Metropolitan Ensemble Theatre’s uneven production of “Pride's Crossing,” an interesting but flawed play by Tina Howe, viewers are asked to do so repeatedly during two acts of leap-frogging time shifts and bizarre casting choices in which some female roles are played by men for no comprehensible reason.

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