March 7-22, 2014
Boston Playwrights’ Theatre
949 Commonwealth Avenue
Boston, MA 02215
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Trigger Warning: Gunshots are used in this production. Sexual abuse of minors is discussed albeit not in detail.
(Boston) The events of Bully Dance are based on the events of a multiple homicide that culminated in a suicide on public transportation in 2006. This is not a light, fluffy or otherwise hope inspiring production. It must be emphasised that playwright David Valdes Greenwood is not attempting to recreate the tragic events. Rather, he has constructed imaginary scenarios that explore the emotional truths of the victims and the survivors. Like an allegorical morality play, this production examines the effects of horrific violence on the heart and mind of Man. Continue reading →
(Boston) As much as I love my Willy (and, trust me, there’s no girl in the world who loves Willy more than I do), Midsummer has always been a problematic play for me.
It’s not the language; this play is simply beautiful linguistically with enough famous speeches to keep a casual listener engaged but not so much that it begins to feel like Hamlet (bopping from one pop culture soliloquy to another with nary a breath in between). This play has more rhyming couplets than you can shake a stick at; and natural imagery that can lull even a colicky infant into the show’s titular pleasant reverie. Continue reading →
ROSENCRANTZ & GUILDENSTERN ARE DEAD AGAIN! Theatre@First celebrates 10th Anniversary with a return to Stoppard’s masterwork
Theatre@First kicks off their second decade of providing local audiences with superlative live theatre at affordable prices with Rosencrantz and Guildenstern Are Dead at the Davis Square Theatre, April 4-12.
In 2004, a small group decided to put on a show in a church basement in Davis Square. That show was Rosencrantz and Guildenstern Are Dead and that group has become Theatre@First, Somerville’s own community theatre. Now founding Artistic Director Elizabeth Hunter returns to the beginning with a new production of Rosencrantz and Guildenstern Are Dead.
Tom Stoppard’s Tony Award-winning script focuses on two minor characters from Shakespeare’s Hamlet, imagining their confusion at being caught up in the tragic plot. Full of some of the greatest wordplay in English drama, Rosencrantz and Guildenstern Are Dead examines the meaning of death and the questions of life from an absurdist perspective that leaves audiences laughing at their own folly and gasping at the truths revealed.
For tickets and more information about Rosencrantz and Guildenstern Are Dead and Theatre@First, visit www.theatreatfirst.org.
PERFORMANCE SCHEDULE 7pm evening shows: 4pm matinee shows:
Friday April 4 Saturday April 5
Sunday April 6 Saturday April 12
Wednesday April 9
Thursday April 10
Friday April 11
PERFORMANCE SPACE Davis Square Theatre
255 Elm St, Somerville
Wheelchair accessible space
TICKETS: $20 for adults
$15 for students/seniors.
brownpapertickets.com & goldstar.com
Group discounts available.
Founded in Angers, France by singer-keyboardist Denis Péan and violinist and kora player Richard Bourreau, Lo’Jo’s musical adventurism is the stuff of legend. The globe-trotting French daredevils have traveled the world for 30 years, playing in remote outposts, soaking up sounds, and founding the annual Festival in the Desert in northern Mali with Tuareg rockers Tinariwen. The six-member band plays funky, dubbed-up chansons laced with a bewildering variety of jazz, pop, reggae, circus, cabaret, klezmer, Roma, West African, and Maghrebian traditions. Péan’s rough-edged Tom Waits–like voice contrasts beautifully with those of sisters Yamina and Nadia Nid el Mourid for a sound that’s totally unclassifiable but utterly enthralling.
BOSTON, MA World Music/CRASHarts presents Masters of Tradition on Friday, March 28, 8pm at Somerville Theatre, 55 Davis Sq., Somerville. Tickets are $28. For tickets and information call World Music/CRASHarts at (617) 876-4275 or buy online at www.WorldMusic.org.
An exceptional evening of Celtic music performed by some of Ireland¹s most esteemed traditional musicians, Masters of Tradition celebrates Irish music in its purest form and features Martin Hayes and Cathal Hayden on fiddle, Iarla Ó Lionáird on vocals, Dennis Cahill and Seamie O¹Dowd on guitar, Máirtín O¹Connor on accordion and David Power on uilleann pipes. Continue reading →
Presented by ArtsEmerson: The World On Stage
Adapted from Two Stories by Anton Chekhov
Adapted and Directed by Annie-B Parson & Paul Lazar/Big Dance Theater
Choreographed by Annie-B Parson
Featuring Mikhail Baryshnikov, Tymberly Canale, Chris Giarmo, Paul Lazar and Aaron Mattocks
My apologies to ArtsEmerson, Big Dance Theatre, Baryshnikov Productions and anyone else I forgot to mention for the tardiness of this review. I was waylaid by illness this weekend and couldn’t complete my review.
(Boston) Man in a Case is effective theatre that turns Chekhov on its head while retelling the two classic stories “Man in a Case” and “Almost Love.” It does not bridge the 19th and the 21st centuries as advertised. It does, however, transport the viewer into an existential dreamspace/nightmare of meta and experimental theatre. Just in case one is mislead by my description, this was an interesting, thought-provoking performance but it’s not light fare for a family hoping to experience “culture” in the city. Man in a Case could be considered “weird” and weird theatre can be exquisite. It all depends on perspective. Continue reading →
From the program notes: Robert N. Wilson, The Writer as Social Seer
“Willy’s failure is our failure, for we are also involved in the cult of success, and we, too, measure men by occupational attainment rather than by some sympathetic calculus of the whole human being. We are all partners in the American Dream and parties to the conspiracy of silence surrounding the fact that failures must by definition outnumber successes, given our cultural ground rules and or singular interpretations of the words ‘success’ and ‘failure’.”
(Boston) There is so much that The Lyric’s production of Death of a Salesman gets right. This is a fantastic production – the best of theirs I’ve seen all season, which is saying a lot for a theatre that regularly that creates solid art. It is the same cut and dried script that generations have come to love with a few spins that make it new and poignant. Continue reading →
(Somerville) Asaf Avidan is compared to Janis Joplin and Billie Holiday. The timbre of his voice has similarities to that of the Joplin rasp and the warmth of Holiday, Avidan’s voice is vulnerable and striking in a way uniquely his own. Joplin and Holiday were distant from their audiences whereas it appeared that Avidan sang as if he wished to become one with us through his music. Continue reading →
Presented by Moonbox Productions
Music & lyrics By Stephen Sondheim
Book by George Furth
Orchestrations by Jonathan Tunick
Directed by Allison Olivia Choat
Music directed by Dan Rodriguez
Super fun choreography by Rachel Bertone
(Boston) They say that Stephen Sondheim is one of those composers that people either love or hate. I disagree. There is so much in his catalogue that there could easily be something for everyone. Company, like Sondheim himself, is one of those shows that people have decided others love or hate. Again, I disagree. There are many moments in Company that are golden. Some are not. Depending how much one enjoys Sondheim (or not) opinion fluctuates greatly. This production by Moonbox has several golden moments that I feel reflect the truths Sondheim sharing in his musical. Other moments are not so effective. Continue reading →
From the Lucidity Suitcase Intercontinental Website:
“On September 27, 1849, Edgar Allan Poe set out on a lecture tour from Virginia to New York. Days later a train conductor saw Poe in Havre de Grace, Maryland, wearing a stranger’s clothing and heading south to Baltimore where he died on October 7.”
(Boston) Boston is the birthplace of E.A. Poe. He was born on Boylston St. not far from the Paramount Center Mainstage theater. The building is commemorated by a small plaque. It’s fitting then that Lucidity Suitcase Intercontinental brought Red-Eye to Havre de Grace, a macabre but unique perspective into the abstraction of the writer’s brain, to Poe’s home. Continue reading →