http://www.syracusenewtimes.com/newyork/articles.sec-731-1-stage.html It’s hard to tell where the curtain speech (comments about exit doors, cells phones and so on) ends and the action begins in And, Lately. . . . Actor-playwright Rachel Lampert, who is the producing artistic director at Ithaca’s Kitchen Theatre Company, asks for a show of hands, “There isn’t anybody here who doesn’t know me, is there?” One timid hand goes up. With a shrug of the shoulders, she then advises, “You will.”]]> In her program notes for Cry Havoc, fledgling director Lois Haas describes her campaign to get Appleseed Productions to mount the dramatic rarity as a “labor of love.” Haas, a stalwart at the company for many years, sees Allan R.]]> Starting just about on time at 7 p.m. on Sunday, May 5, at Eastwood’s Palace Theatre, the complete ceremony ended at exactly 8:34 p.m., more than an hour ahead of the usual pace. This somehow occurred even though there was live music on stage from retro-rock specialists The Coachmen and video clips of productions from last year’s season.]]> When asked if he considers himself “rich,” tall, graying Dr. Michael Dillon (David Andrew Macdonald) hesitates but admits he might be “comfortable.” This brings an immediate rejoinder from a scruffy visitor to his office, Margie Walsh (Kate Hodge): “That makes me uncomfortable.”]]> Gene Tierney’s eyes, Ingrid Bergman’s cheekbones and Ava Gardiner’s eyebrows. She asks her father if her cruel fate had befallen her because they don’t go to church. Making up for lost faith, she begins her trek in North Carolina’s Spruce Pine, crossing the South by bus to find deliverance in a Protestant Lourdes—with a televangelist in Tulsa, Okla.]]> Nostalgic jukebox musicals celebrating and spoofing songs from our collective youth have long been catnip for local audiences. Forever Plaid, written in 1990, on pre-Beatles boy groups, has enjoyed plenty of local productions in the last two decades. Taffetas, from 1989, had an intense if short run.]]> William Finn and James Lapine’s Falsettos might have won two Tony Awards at its premiere two decades ago, but portions reappear on local stages more often than they do in other regions of the country.]]> Still not showing its age at 134, Gilbert and Sullivan’s The Pirates of Penzance means reliable fun no matter how it is presented. Mix in a director of infinite jest, like Le Moyne College’s Matt Chiorini, and you can’t measure just how high the hilarity will jump.]]> Arthur Storch said repeatedly that he liked being in Syracuse and that he looked upon Syracuse Stage as an opportunity to do what he wanted to do—and could not do as readily anywhere else. At least that is what he said to this Syracuse New Times interviewer on several occasions.]]> The Full Monty is the Redhouse Arts Center’s contribution to The District theater festival’s trio of rotating productions at the New York State Fairgrounds’ Empire Theater.]]> Ashland, Ore., has come to Syracuse. Timothy Bond, producing artistic director at Syracuse Stage, served for more than 10 years with the Oregon Shakespeare Festival in Ashland. Over the years, he has favored some old Ashland colleagues, such as director Penny Metropoulous, who helmed last spring’s Red.]]> Once upon a time, many eons ago, playwrights fashioned dramas about functional rather than dysfunctional families. It sounds like a fairy tale, but in stage plays such as I Remember Mama, husbands and wives willingly remain faithful to one another, and they love their children.]]>