Nov 23

Weiner, Pirate and Bust: “A Confederacy of Dunces”

Presented by the Huntington Theatre Company
Written by Jeffrey Hatcher
Based on the novel by John Kennedy Toole
Directed by David Esbjornson
Original music by Mark Bennett
Music direction by Wayne Barker

Nov. 11 – Dec. 20, 2015
Avenue of the Arts
Boston, MA
Huntington on Facebook

Review by Kitty Drexel

(Boston, MA) I did not enjoy A Confederacy of Dunces. That doesn’t mean it wasn’t good theatre. Let’s discuss. Continue reading

Nov 18

Women Are Kept Powerless on Purpose: “The Love of the Nightingale”

Photo by Tim Gurczak

Photo by Tim Gurczak

Presented by Hub Theatre Company of Boston
Written by Timberlake Wertenbaker
Directed by Rebecca Bradshaw
Choreography by Tyler Catanella
Music direction and sound design by Bahar Royaee
Fight choreography by Rebecca Miller

Nov. 6 – 21, 2015
First Church Boston
66 Marlborough St
Boston, MA 02116
Hub Theatre on Facebook

Disclaimer: Mrs. Drexel did audition for this production and was not cast. She firmly believes that only a selfish ass would allow such a thing to taint her review.

Trigger warning: Gore, rape, feminist thought

Review by Kitty Drexel

“How do women still go out with guys, when you consider the fact that there is no greater threat to women than men? We’re the number one threat! To women! Globally and historically, we’re the number one cause of injury and mayhem to women. We’re the worst thing that ever happens to them!” – Louis C.K.

“Men are afraid that women will laugh at them. Women are afraid that men will kill them.” attributed to Margaret Atwood

(Boston, MA) The Love of the Nightingale is a Greek myth/morality tale that tells of the dangers of forcing women to be responsible for the sexualities of men. This self-aware play reduces gods and goddesses to the fears and urges of Man: if a dude behaves reprehensibly, it obviously must be the will of the gods. In the reality created by Wertenbaker, self-control and restraint are not wished by higher powers. Rape, victim blaming, unnecessary violence, and other terrible behaviors are. Gross. Continue reading

Nov 17

Fun Time Field Trip to NYC: “Who’s Your Baghdaddy? Or, How I started the Iraq War”

Photo Credit: Jeremy Daniels; Who's Das Man? You're Das Man.

Photo Credit: Jeremy Daniels; Who’s Das Man? You’re Das Man.

Presented by Charlie Fink, Lee Seymour
Produced by the New Musical Foundation, Inc
Music & Book by Marshall Pailet
Lyrics & Book by A.D. Penedo
Based on a screenplay by J.T. Allen
Directed by Marshall Pailet
Music directed, arranged, accompanied by Rona Siddiqui
Choreography by Misha Shields

Performances are ongoing
The Actors Temple
339 W 47th St, between 8th and 9th Ave,
New York, NY 10036

Review by Kitty Drexel

On occasion Geeks go to NYC. On occasion we review shows while we’re there. This is one such review.

(New York, NY) Sweet Mary Mother of God did George W. Bush, Colin Powell and, most specifically, Dick Cheney screw over the American people with the Iraq war. To say that the events leading up to and immediately after were FUBAR, would be putting it lightly. There were no weapons of mass destruction; the US pointlessly wasted lives, resources and oodles of money to appease Republican impotent bloodthirst. The people never received a refund or even a proper apology for this BS. Thank merciful Zeus the arts are here to save us from horrible truths. In particular, thank Pailet & A.D. Penedo for writing Who’s Your Baghdaddy? Or, How I started the Iraq War, a delightful treatment of the events of 2001 that gives them the severity and respect they deserve*. Continue reading

Nov 10

Meet Crazy is Still Cute: LAB RATS

Photo credit: Nile Hawver/Nile Scott Shots

Photo credit: Nile Hawver/Nile Scott Shots

Presented by Brown Box Theatre Project
Written by Patrick Gabridge
Directed by Kyler Taustin

Boston, MA: Nov 6-8 & 13-15, 2015
Atlantic Wharf
290 Congress St
Ocean City, MD: November 20-23, 2015
Center for the Arts
502 94th Street
Brown Box on Facebook

Review by Kitty Drexel

(Boston, MA) Lab Rats is an adorable comedy about the drastic measures people will take to convince others of their relative normalcy. Some days it’s impossible to hold all the crazy in. Let she who hasn’t committed some social faux pas (like wailing like a blubbering infant on public transport) cast the first stone! For Mika and Jake, “some days” tend to be most days thanks to a barrage of paid-to-evaluate tests they take in order to make ends meet. Continue reading

Nov 04

Sleeping Weazel Presents: BODY & SOLD

Posted with permission from Sleeping Weazel

Posted with permission from Sleeping Weazel


Boston, Mass., October 20, 2015 — Multimedia theatre company Sleeping Weazel, with director Robbie McCauley, will present a staged reading of BODY & SOLD, a documentary play by Tempest Productions’ Founder and Artistic Director Deborah Lake Fortson on Monday, November 16, 2015, 7:30 pm at Charlestown Working Theater, 442 Bunker Hill Street, Charlestown, MA 02129. This play is the result of interviews with young Americans from Boston, Hartford, and Minneapolis who ran away from home or were kidnapped and lured into prostitution before escaping with their lives. The BODY & SOLD Project was developed to foster a network of theaters and social agencies with the goal of raising national consciousness about the intertwined issues of child abuse, runaways, and child/teenage prostitution.

This reading, supported by a Sleeping Weazel Lab Residency at the Charlestown Working Theatre, is part of a series of readings being presented this season by the Nora Theatre, Fort Point Theatre Channel, Boston University, Emerson College, and Boston Playwrights’ Theatre.

Sleeping Weazel and Tempest Productions present:


written by Deborah Lake Fortson
directed by Robbie McCauley
Monday, November 16, 2015
7:30 pm

Tickets: FREE and open to the public, donations welcome
Charlestown Working Theater
442 Bunker Hill Street
Charlestown, MA 02129

About Sleeping Weazel
Charlotte Meehan and Adara Meyers are playwrights and co-directors of Sleeping Weazel, a Boston-based experimental multimedia theatre company with an online cyber art gallery exhibiting film, video, and sound art that expands “the theatrical.” Last year, Sleeping Weazel premiered critically acclaimed productions of Meehan’s 27 Tips for Banishing the Blues (September 2014) and Meyers’ Talk To At Me (June 2014) as part of the company’s Doubles, Demons, and Dreamers festival. In March, the company premiered Badass, a festival of new works by theatre greats Kate Snodgrass, Robbie McCauley, and Magdalena Gomez. Sleeping Weazel’s motto, “making different possible,” refers to the company’s mission to bridge the gap between mainstream and avant-garde, to present works that break the boundaries between art forms, and to work with artists across generations, cultures, and genres. Continue reading

Nov 03

Appropriating the Habits of Rabbits: “Casa Valentina”

Presented by SpeakEasy Stage Company
Written by Harvey Fierstein
Directed by Scott Edminston

Oct. 24 – Nov. Nov. 28, 2015
Stanford Calderwood Pavilion
Boston Center for the Arts
Boston, MA
SpeakEasy on Facebook

Review by Kitty Drexel

(Boston, MACasa Valentina is about men who relax by appropriating women’s culture,  and feminine identity. This cutting play by Harvey Fierstein examines the subversive transvestite subculture of the mid-1950’s. According to the healthily robust dramaturgy notes by Maureen Dezell, men would don wigs, hose and dresses to enjoy a quaint weekend in the Catskills. These men unwind from their rigid gender roles with a tube of lipstick and a stiff drink amidst the glory of the New York state. Suffice to say, this is not a production for conservative types with traditional notions of what is or is not acceptable behavior for men. Tread wisely. Continue reading

Oct 28

That Marjorie is Such A Heel: 5 LESBIANS EATING A QUICHE

Photo care of Heart & Dagger promo materials

Photo care of Heart & Dagger promo materials

Presented by Heart & Dagger Productions
Written by Evan Linder and Andrew Hobgood
With contributions by Sarah Gitenstein, Mary Hollis Inboden, Meg Johns, Thea Lux, Beth Stelling, and Maari Suorsa
Directed by Joey C. Pelletier

Oct. 22 – Oct. 30, 2015
Boston Center for the Arts
Plaza Black Box
Boston, MA
Heart & Dagger on Facebook

Review by Kitty Drexel

Disclaimer: Mrs. Drexel auditioned for 5 Lesbians Eating a Quiche (among other lesbians) and was not cast. She firmly believes that only a selfish ass would allow something like this to taint her review.

(Boston, MA) 5 Lesbians Eating a Quiche imagines an alternative reality in which Sputnik was less a marvel of 1950’s Russian science and more a legitimate, non-propagandist threat to US security during the Cold War. It is 1956 and the members of the Susan B. Anthony Society for the Sisters of Gertrude Stein are holding a quiche appreciation luncheon. Sisters, behold the mighty egg: bringer of life, sustainer of women! The meeting begins joyously with a meeting of forks and ends after armageddon ravages the lands of the United States. The board members might be the only survivors. Yet, with the majestic egg to keep them strong, and their identities clearly defined, they will repopulate the earth. Somehow. Continue reading

Oct 26

Exceeding Intentionally Offensive Expectations: “Gorefest: the 13th”


Presented by ImprovBoston
Book/Lyrics/Score by Don Schuerman, Steve Gilbane, Matt Chapuran and Jeff Kimball
Directed by Nate Lopez

Oct. 22 – 31, 2015
Studio Theater at 40 Prospect St
Central Square, Cambridge, MA
IB on Facebook

Review by Kitty Drexel

Disclaimer: Mrs. Drexel auditioned for Gorefest: the 13th and wasn’t cast. She firmly believes that only a superficial ass would allow something like that to taint (heh) her review.

(Cambridge, MA) The cast, crew and band of Gorefest: the 13th were frickin’ awesome. It was a good time getting splattered with blood and urine by IB last Saturday. It always is. That being said, when was Gorfest moved from the Main Stage to the Studio Theater? Who’s crazypants idea was it to move the Boston-area cult classic musical into a smaller space? Cramming that many warm bodies into that room, even with the wooden benches, is not cool. It’s not good for the cast. It’s not good for the audience. Get yourself sorted, IB. Continue reading

Oct 17

One Out of Three Ain’t Good: “A Number”

Photo by Andrew Brilliant / Brilliant Pictures

Photo by Andrew Brilliant / Brilliant Pictures

Presented by New Rep Theatre
Written by Caryl Churchill
Directed by Clay Hopper

Oct. 10 – Nov. 1, 2015
Arsenal Center for the Arts
Watertown, MA
New Rep on Facebook

Review by Kitty Drexel

Apologies to the cast, crew and staff of A Number. Mrs. Drexel caught the sniffle plague and was unable to write intelligibly.

(Watertown, MA) Churchill throws us into the middle of the conflict: Salter (Dale Place) and son are violently discussing the son’s birth origins. Regardless of the half-truths Salter weaves, it is made clear that the Bernards (Nael Nacer) is one of any number of clones. The Bernards hate each other. Salter must come to terms with his rash decision to play God. In her pithy way, Churchill approaches identity, the morality of cloning by way of personal property, and the timeless conflict between nature and nurture. Continue reading

Oct 13

Pretty is Currency: “Miss Penitentiary”


Photo credit: Tanner Tinso

Presented by Maiden Phoenix Theatre Company
Written by Laura Neubauer
Directed by Alyce Householter
Choreography by Kaitee Tredway

Oct. 2 – 17, 2015
Boston Playwrights Theater
Boston, MA
Maiden Phoenix on Facebook

Review by Kitty Drexel

Trigger Warning: Feminism

Disclaimer: Ms. Drexel auditioned for Miss Penitentiary and was not cast. She firmly believes that only an ass would allow something like this is taint a review.

(Boston, MA) The prisoners of the International Penitentiary of the Individually Incarcerated are us. If Miss Penitentiary is a creepy show, it’s because western society’s standards of beauty for women are creepy. If the characters remind you of inmates in a mental health facility, it’s because women are held to such impossible beauty goals that they make themselves crazy attempting to obtain them. Like the guests of the “Hotel California,” women can check out any time we like but we may never leave. Continue reading