With apologies to Fresh Ink Theatre Company. The Queen Geek was waylaid by illness and could not complete her review until now.
(Boston) Handicapping by James McLindon combines three heavy subjects into one script: gambling addiction, physical incapability, and the deep holes we dig ourselves when we deny reality. It is a short but effective play. From the moment the lights come up, with the help of the Fresh Ink crew, McLindon’s script relentlessly reveals the exacting scarcity that is his cast and plot. There is no hope for the denizens of the betting booth. There is hope for the audience. Continue reading →
The production will run for two performances on May 30 & 31, 2014 at Responsible Grace Church in Davis Square. Auditions will be in March. A modest stipend is available. Persons filling these positions will be expected to aid in basic marketing, and PR development.
For more information, interested parties should email Kitty Drexel at email@example.com with the position in the subject line. Please include resume and description of intent in the email.
(Boston) The Brown Box Theatre Project’s Two Wrongs is a comedy-drama that concerns the tenuous, complex nature of doctor/patient relationships and the temptation to abuse authority. It’s an entertaining show, but it never interrogates its wrongdoers too sharply. Its tone is ultimately one of sympathy, perhaps a little too gentle. Continue reading →
(Watertown) Sometimes you can check off all the boxes for what makes an interesting play without the play adding up to great theatre. The Whipping Man, playing at the New Repertory Theatre, has all the ingredients (interesting slice of history, family drama, a striking set, a strong cast), but they don’t create something bigger. Continue reading →
January 10 – February 1, 2014
The Jackie Liebergott Black Box at the Emerson/Paramount Center 559 Washington St.
Boston, MA 02111
Company One on Facebook
Arts Emerson on Facebook
Performance run from 90 to 100 minutes. There is no intermission.
Review by Kitty Drexel
(Boston) We Are Proud to Present a Presentation about the Herero of Namibia, Formerly Known as Southwest Africa, from the German Sudwestafrika, Between the Years 1884-1915 is a scripted, semi-interactive history lecture cum improv experiment dissecting the historical events of the German occupation of what is now Namibia. 6 actors attempt to reenact the experiences of German soldiers as they ousted the Herero tribe from their lands. It starts with a chipper cast playfully giving a lecture. As with much of history, it has a somber ending. Continue reading →
Presented by Wheelock Family Theatre
Book by Mark O’Donnell & Thomas Meehan. Music by Marc Shaiman
Lyrics by Scott Wittman & Marc Shaiman
Based on the New Line Cinema film written and directed by John Waters.
Directed by Susan Kosoff
Musical Direction by Matthew Stern
Choreography by Laurel Conrad
January 24 – February 23rd, 2014
180 The Riverway
Wheelock College Boston, MA
Wheelock Family Theatre on Facebook
Review by Craig Idlebrook
(Boston) The first act of Wheelock Theatre’s Hairspray is such a great way to dance away the winter blues that it should be prescribed like Vitamin D. Words fail to do justice in describing this outlandish, energetic, and mirth-filled play, which unfolds like American Bandstand on just a hint of acid, so I’ll just say that I smiled straight through from the downbeat of the opening number until intermission. Since the second act couldn’t top the first without causing people to disappear to a Nirvana of spastic theatrical comedy, it’s probably just as well that the play trailed off slightly after intermission, like a great joke that leaves you with a fit of the giggles. Continue reading →
Theatre@First offers an earnest take on Caryl Churchill’s meditation on womanhood in the 1980s. The production is best in the lighter moments, when the realities of the character’s lives seem far less crushing.
Top Girls itself is not traditional, but is and was a groundbreaking piece which provides incisive snapshots of women beyond as well as within classical archetypes. A show which only represents female voices is not necessarily feminist by default, but feminism as it relates to the time as well as the past pops up regularly. Central themes such as success and sacrifice are embodied by Marlene, played effectively as a witty and ruthless vamp by Kathy-Ann Hart, who has achieved autonomy by choosing the advancement of her career over other areas of her life. Continue reading →
The theatre is handicapped accessible, for disability services Jim Wice @ 781-283-2434
Review by Craig Idlebrook
(Wellesley) If, like me, you have a history degree that you find yourself using as a doorstop or a paper weight, then you might like any play or movie that has cannons, bodices, and acts of Parliament. But it’s hard to judge whether a work of historical fiction is actually good, or if it’s just an excuse to geek out on people talking about legislation and wars of yesteryear. Continue reading →
Saturday, February 22, 8pm, Somerville Theatre For Tickets and Information: 617-876-4275 or www.WorldMusic.orgBOSTON, MA — World Music/CRASHarts presents the Boston debut of Asaf Avidan on Saturday, February 22, 8pm at the Somerville Theatre, 55 Davis Square, Somerville. Tickets are $28, reserved seating. For tickets and information call World Music/CRASHarts at (617) 876-4275 or buy online at www.WorldMusic.org. Perhaps the most interesting voice in the Israeli music scene today, 32-year-old Asaf Avidan has become a huge sensation in Israel and Europe. Singing primarily in English, Avidan¹s powerful voice is unmatched. He has been called “a hoarse angel,” a “force of nature,” and “the love child of Dylan and Joplin.” Continue reading →
January 23 – February 2, 2014
Boston Center for the Arts 529 Tremont St
Bread and Puppet on Facebook
Review by Danielle Rosvally
(Boston) There aren’t many opportunities in your modern New England life to actually be a part of something that has deep, continuous, traditional roots. I don’t count Civil War Reenacting. Experiencing Bread and Puppet is an honest-to-goodness moment of oneness with theatre history, even if you don’t quite understand what’s going on in the performance. Continue reading →