Presented by Bridge Repertory Theatre of Boston
Book, lyrics and music by Michael John LaChiusa
Directed by Michael Bello
Musical direction by Mindy Cimini
Choreography by Stephen Urspung
March 12 – 29, 2014
Boston Center for the Arts
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TRIGGER WARNING: This musical has a lot of sex in it. So much of the sex. Fortunately, it’s all consensual.
(Boston) Not all sex is procreative. Sex should be a really good time for everyone involved*. A lot of it isn’t**. If you fundamentally disagree then stop reading now…
Hello Again presented by Bridge Repertory Theatre is an immersive musical that places the audience in the center of the action. And by “action,” I mean riding the skin-train to orgasm town. That being said, the musical is not actually about sex. It is about what leads to sex, why we do it and with whom we choose to do it. It is art focused on a very specific, necessary act. Continue reading →
Trigger warnings for drug use and super fun, adult naked times.
Review by Kitty Drexel
(Boston) In The Symposium, Plato famously describes three human genders (man, woman and androgynous) whose strength equaled that of the gods. They were made of two faces, 4 arms, 4 legs and 2 sets of genitalia. Zeus, rather than kill the humans for pride, uses his lightning to tear them asunder. Their powers halved, humans were cursed to spend the rest of their existence looking for their second half, their “soul mate,” so they could be complete again. Most people assume that their “other half” is their one romantic partner to have and to hold for all time. Life isn’t so simple. People are complicated animals. Continue reading →
(Boston) No matter what you’ve heard, The Whale is not a play about obesity. That may be hard to remember when you see a man drowning in his own corpulent flesh, the junk food wrappers strewn around his apartment serving as a testament to his mortal sin. Continue reading →
Sung in Italian with projected supertitles in English. Performed in 2 “acts” with 1 intermission.
Review by Kitty Drexel
(Boston) The vocals of BLO’s Rigoletto are simply stunning. In particular, Michael Mayes as the title character and Nadine Sierra (Gilda) were a treasure to hear and watch. Audrey Babcock (Maddalena) smolders! This vocals of the male chorus were powerful but difficult to watch. It appears that they can only emote when given specific direction to do so. The sumptuous costumes by Victoria Tzykun mostly made up for this. Conductor Christopher Franklin leads his orchestra with admirable humility and confidence. His reverence for Verdi is evident from his first step into the pit. Continue reading →
(Somerville) What Once We Felt is science fiction that distills contemporary anxieties into a thinly veiled future. The bedrock of Ann Marie Healy’s dystopia, which premieres in Boston for the first time, is literary digitization, a bleak economy with a suppressed lower class, deplorable health care conditions, iPhone obsessions, and some unlikely but remarkable advances in artificial insemination. The play will make an excellent artifact of our age group. Though the mask this society wears to disguise its relation to our own is transparent, so is the world-building and the logic behind a woman-only, caste-system culture. The mechanics are questionable, but the anti-utopian horror that Flat Earth Theatre creates is sublimely creepy. Continue reading →
(Boston) Chekhov intended The Seagull play to be a comedy. He wrote a famous letter to his friend Suvorin on October 21, 1895 describing his intent and further elaborated that Seagull would defy the conventions of theatre. No kidding. It is a comedy for the same reasons Springtime for Hitler is a comedy. The one exception being that no RogerDeBris character arrives to save us from our sensibilities. To sum up, without Roger, The Seagull is a drama about people being terrible to each other while lamenting their own misery. In Russia. While discussing the theatrical arts. It isn’t very funny (unless you’re a sadist). What it is, is deeply depressing. Continue reading →
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) I went into this show knowing one thing: given the subject matter and my background, I was either going to hate it or love it. There would be no in between.
I was mostly right. I hated some things, and loved others. Let’s go through these items one line at a time, shall we?
Let’s start with the writing: Minigan is definitely writing for Boston. Much like it’s hard to imagine Avenue Q played anywhere but New York, I have a hard time imaging that audiences in other parts of the country would connect to this show in the same way as Bostonians. This is doubly odd given that the show premiered at the Orlando Shakespeare Festival and continued on to the Utah Shakespeare Festival where, presumably, it did well enough that it’s back in Boston now. The dialogue is expertly put together, and it held me in a way that most contemporary pieces don’t (…and not just because it had a passing relationship with my man Will). My one fault with the piece was this: I left wondering “why?” Why did I just see this? Why did we go on this journey? What was beneath this tale? I felt like the story was too profound not to have a readily discernable crux; but I just couldn’t understand what that crux was. 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 →