Chelsea Theatre Works Chelsea, MA
April 5th – May 4th, 2013
Performances will be followed by a Reception with the actors in the Gallery.
The Apollinaire Theatre Co Facebook Page
Review by Craig Idlebrook
(Chelsea) Is it possible that we have slept through two of the longest wars in U.S. history? Not only that, but we slept through those wars because we stayed up too late watching theJersey Shore. The wars in Afghanistan and Iraq were fought by professional soldiers far away, their impact reduced to a stream of debate on the nightly news. Now, as the wars wind down, a generation of damaged soldiers walks among us, haunted by what they have experienced on the battlefield. We lionize these warriors, but many of us don’t know what to do with them. Many soldiers likewise are unable to reintegrate into society, and feel like aliens in their homeland. Continue reading →
(Watertown) Amelia Broome doesn’t use a Greek accent in her portrayal as international treasure and opera superstar, Maria Callas. The audience doesn’t have the luxury of knowing why Broome chose not to use an accent. Broome’s performance is effective without one so the reasons don’t matter.
Master Class is a grand opportunity for non-Classical singers (plebes) to experience the horror and joy that is operatic study. It is a (relatively) cheap vocal coaching for its length and history wrapped in a convenient package. The dialogue is only slightly dramatized for the benefit of the audience. The majority of Callas’ lessons and helpful hints are comments that any voice teacher could and would give her student. The majority of these same lessons and hints are conveyed in a similar manner as well. Continue reading →
Photo Credit: Mark S. Howard; Hannah Husband, Kami Rushell Smith, Kelby T. Akin, Gregory Balla
by Lynn Nottage
Directed by Summer L. Williams
The Lyric Stage Company
March 29, 2013 – April 27, 2013
The Lyric Stage Facebook Page
Running time: Approximately 2 hours & 15 minutes, includes one intermission
Review by Kitty Drexel
(Boston) The events of By the Way, Meet Vera Stark appear to be comedic. In truth, viewed with the perspective of historical racial prejudice, it is more like a tragedy. Vera Stark is a Black actress living in Los Angeles and nursing a dream of appearing on the big screen as more than an anonymous face in a club scene. She dreams of being a character that isn’t a slave and definitely isn’t a “Mammy” role. Determined to make her mark in Hollywood, Stark rallies her friends and boss Gloria, and manages to slightly alter bureaucratic race relations at the same time. It was one small step for woman and a held breath for the rest of mankind. Continue reading →
by Jackie Sibblies Drury
directed by Curt Columbus
Providence, Rhode Island
Trinity Rep Co Facebook Page
March 14 – April 21
Review by Craig Idlebrook
This play contains graphic violence. Running time is 95 minutes with no intermission.
(Providence) It didn’t look like a good setup for good theater. Post-apocalyptic zombie invasions have become all the rage for script-writers, and there have been several new plays in Boston which have attempted to turn flesh-eating marauders into viable drama; few have been successful. The best resembled family dramas with zombies tacked on; the worst became fan fiction.
But Jackie Sibblies Drury’s sharp script for Social Creatures powers the best production of a new play I’ve seen in a long time. This tense and gory tragicomedy, debuting at Trinity Rep, avoids so many pitfalls of both new plays and zombie drama. It creates a credible atmosphere of real danger, both physically and emotionally, and Drury uses the threat to effectively explore what we lose as a society when we lose intimacy. Continue reading →
(Lowell) For a play that focuses on mathematics, Proof, playing at the Merrimack Repertory Theatre, nails social theory. In this thoughtful production, we learn that a family is really a group organism that can adapt to having a limb injured or severed, but that organism can never be the same afterwards. Continue reading →
(Charlestown) Timberlake Wertenbaker’s Our Country’s Good is not about the importance of plays but the importance of fiction—dreams, ambitions, and fantasies—to the downtrodden. The convicts sent to the Australian penal colonies in 1788 have been dehumanized chiefly by circumstance. The play the officers have the felons put on gives them the dignity they could not find in lives led as thieves and prostitutes in England. The whole thing is an impressive meditation on how art fiercely alters perspective even if The Charlestown Working Theater’s production suffers peculiar pacing and lingering pauses. Continue reading →
(Cambridge) When done right, there is something so unpretentiously fun about the Celtic music that comes from the little Nova Scotian island of Cape Breton. Rooted in Scottish musical traditions and honed in kitchen parties on long winter nights, it is a musical form that is vibrant, heartfelt and accessible. And few Cape Breton products so embody the spirit of this musical scene better than Natalie MacMaster, a world-class fiddler from world-class fiddling stock. Continue reading →
Reuban Reynolds III, Music Director
Chad Weirick, Principal Accompanist & Assistant Music Director
ASL Interpretation by Lewana Clark (This woman deserves her own concert)
Michelle Chasse, Choreographer
The title of the programme comes from Alan Menken and Jack Feldman’s Newsies.
If you’ve been involved in either the Boston area theatre or LGBTQ scenes long enough, you have heard of the Boston Gay Men’s Chorus (BGMC). If you haven’t heard of their exquisitely executed, heart rending concerts, you’ve been living under a metaphorical rock. Shame on you! They’ve been making sweet music since 1982 and deserve all the accolades they get for their musicianship and their outreach. Continue reading →
(Norwood) The Ultrasonic Rock Orchestra (URO) rocks. They have made a brilliant career out of rocking classics by musicians such as The Beatles, Bowie, and Queen. Last night’s performance of Jesus Christ Superstar was no exception. Put simply, they capture all the funk that Andrew Lloyd Weber missed. Continue reading →