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 →
(Brookline) Puppet Showplace Theatre mostly runs shows geared towards young children, with lessons and surprises aplenty for the tiny set. Puppets@Nite brought a special two night only show to the space with the sprightly, multi-talented and effervescent Joshua Holden. Continue reading →
(Lowell) Professional baseball player Ichiro Suzuki once got into hot water for saying that when his team is losing year after year he focuses instead on playing for his own individual accomplishments. To some, it showed selfishness, but to me it showed professionalism. 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 →
February 14-22nd, 2014
Thursdays, Fridays and Saturdays 8 pm, Saturdays 4 pm, Sundays 3 pm The Factory Theater
791 Tremont St
Boston, MA 02118
Happy Medium on Facebook
Review by Gillian Daniels
(Boston) Happy Medium Theatre’s Baby with the Bathwater is searing, cruel, and weirdly loving. A lopsided family portrait, the play is a satire on abusive upbringings dramatized for entertainment. The show appears to take place in a warped alternate universe where new parents John (Jeremy Towle) and Helen (Denise Drago) are too dimwitted to understand one holds a baby when it cries or that children aren’t allowed Nyquil. Their misnamed son, Daisy (Mike Budwey), endures a home life so skewed but with parents so achingly human, it becomes chillingly akin to real dysfunction. 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 →
Whew! Thanks for sticking with me, readers! Welcome to the Epic Conclusion of Dani’s Grand Bardopalooza Adventure: 2K14. Over three days, I have attended and reviewed three different American Shakespeare remixes. Tonight’s grand finale: Romeo Juliet presented by The Hypocrites at Club Oberon.
(Cambridge) Let’s start here: this is probably best titled a “remix” of Shakespeare’s play rather than a straight-up performance or adaptation. Sean Graney took the original text, cut it, cropped it, zoomed in on some things, and re-arranged everything else to befit the story he wanted to tell. And, as I said in my review of 12 Nights, there’s nothing intrinsically wrong with that treatment. As an audience member, you should just be aware that you’re not going to be seeing Shakespeare on this stage; you’re going to be seeing work inspired by a timeless story. As such, I think familiarity with the source text is a must. I definitely saw plenty of kids in the audience, but I wasn’t certain that this was the best vehicle for introducing our well-known story to them. The story itself, in this form, felt rushed and improbable; like Graney was trying to slot too many elements into his slim sixty-minute time window. There were moments that even I barely followed (and that’s saying something). Continue reading →