When the blows start flying in Studio Theatre's "Sucker Punch," it's the audience that sees stars. In this case, that means the powerhouse visages of Emmanuel Brown and, even more electrifyingly, Sheldon Best, as British prizefighters of West Indian descent, bobbing and weaving and jabbing their way out of hard times in Margaret Thatcher's racially charged London. Read full article >>
SOURCE: Washington Post at 12:38AM on March 6, 2012