Jun 05

An Imaginative View from Above: “Rooted”

Photo by Ken Yotsukura Photography.

Presented by The Lyric Stage Company
By Deborah Zoe Laufer
Directed by Courtney O’Connor
Composer & sound design: Dewey Dellay
Featuring Karen MacDonald, Lisa Tucker, and Katherine Callaway

June 2 – 25, 2023
The Lyric Stage Company
140 Clarendon Street, 2nd Floor
Boston MA, 02116

Critique by Maegan Bergeron-Clearwood

BOSTON, Mass. — Rooted makes a breathless first impression. Walking into the theater at The Lyric Stage Company, perhaps for the first time since I’ve started attending theater post-lockdown, I literally gasped at the sight: part treehouse deck, part overgrown garden, all shrouded in dappled shade from the foundational tree’s outstretched limb.

The set, designed by Janie E. Howland, is as much a character in Deb Zoe Laufer’s play as its protagonist, Emery (Lisa Tucker). Emery has sequestered herself to her treehouse sanctuary for 12 years by the start of the play, with only two connections to the world below: her caregiver sister, Hazel (Karen MacDonald), and her unexpectedly popular YouTube channel showcasing her plant experiments. Her compassionate, charismatic way with plants inspires her online fans to form a literal cult around her beloved tree. Continue reading

Jun 05

Defiant Like It’s Banned in Florida: “As You Like It”

Genevieve Simon and the cast of Actors’ Shakespeare Project’s As You Like It (2023). Photo by Nile Scott Studios.

Presented by Actors’ Shakespeare Project in partnership with The Theater Offensive
Directed by Harold Steward
Associated Directed by Brooke Hardman
Featuring Fady Demian, Lindsay Eagle, Gabriel Graetz, Jaime Josè Hernández, Doug Lockwood, Nathan Malin, Gavin Rasmussen, Genevieve Simon, Bobbie Steinbach, Regine Vital, Mishka Yarovoy

June 2 – 25, 2023
Tufts University’s Balch Arena Theater
40 Talbot Ave
Medford, MA 02155

Critique by Craig Idlebrook

MEDFORD, Mass. — At first glance, Actors’ Shakespeare Project’s declaration that its production of As You Like It “leans into (the play’s) famed crossdressing mayhem and gender euphoria” in defiance of the passage of anti-LGBTQ+ legislation could be as empty a stretch as a corporate Pride Month initiative. After all, As You Like It already is one of Shakespeare’s gender-bending plays, in which female protagonists find reasons to dress as men, woo men as men, and then be wooed in turn by women. Add to this that men played all the female parts in the original runs of these comedies, and on paper it seems like there would be little space to add more LGBTQ+ focus.

That is why it is all the more impressive that this production, done in partnership with The Theater Offensive, finds new ways to turn this absurd play into a weapon against the absurdity of a new wave of anti-LGBTQ+ hate. Continue reading

Jun 01

“The Color Purple” Critique Removed from NETG: We Humbly Apologize.

The New England Theatre Geek removed its review of the Umbrella Stage Company’s The Color Purple by Kitty Drexel on June 1, 2023. It was brought to our attention that it caused great harm to the Umbrella Stage’s community. We sincerely apologize for our harmful words.

The review prioritized white oppression over the experiences of Black people. Doing so was an act of white supremacy. We humbly ask for your forgiveness. We promise to do better.

We thank the Umbrella Stage Company, BW Gonzalez, the cast and crew of The Color Purple and producer Brian Boruta for telling us we caused harm.

We acknowledge that it is not anyone’s job to do so and that all involved took risks to inform us. Thank you for trusting us with your feedback.

We thank you for the opportunity to make amends. We will atone for our mistakes.

We wish you exuberant joy and great triumph in your closing weekend of The Color Purple.

With humility, respect and love,

Kitty Drexel

May 29

Righteous but Unfocused Rage: “Goodnight Sweetheart, Goodnight”

Daraja Hinds, Jennifer Mischley, Sophie Appel, Beth Alianiello Jennifer Mischley and cast of GOODNIGHT SWEETHEART, GOODNIGHT at Wilbury Theatre Group; photo by Erin X. Smithers.

Presented by Wilbury Theatre Group
Written by Darcie Dennigan
Music by Niki Healy
Directed by Josh Short
Music Direction by Milly Massey
Choreography by Ali Kenner Brodsky
Featuring Jennifer Mischley, Sophie Appel, Beth Alianiello, Daraja Hinds, Christine Treglia, Lydia Grosswendt

May 25 – June 11
The Wilbury Theatre Group
475 Valley Street
Providence, RI 02908

Content Warning: ​This production includes the use of strobe effects, and contains references to ​rape, sexual assault, and torture.​

Review by Maegan Bergeron-Clearwood

PROVIDENCE, RI — In theory, Goodnight Sweetheart, Goodnight is in the same lineage as two of my all-time favorite musicals, Six and Lizzie: campy, riotously angry, mostly sung-through works that are more structurally akin to pop concerts than an integrated, plot-driven musical. It’s a niche mini genre of musical theatre that seeks to fill in the holes of patriarchal history by means of loud, glittery, feminist revisionism. The point of these concert musicals isn’t to tell a factual story, but to offer catharsis; to witness the violence of misogyny inflicted on a historically maligned figure, but also relish in a devilishly empowered version of her, however mythologized that version may be. Continue reading

May 20

Hail Mcduff, You Little Bitch: Shit-Faced Shakespeare’s® “Macbeth”


Presented by Shit-FacedShakespeare®
Producing Direction by Brett Milanowski 
Directed by Rev. Lewis Ironside
Featuring: Olivia Dumaine, Turner Frankosky, Elizabeth Hartford, Alex Leondedis, Brett Milanowski, Sarah Morin, Tyler Rosati

April 27 – June 24
The Rockwell
Davis Square
Somerville, MA
Run Time: 70 with no intermission 

Critique by Kitty Drexel

Somerville, Mass. — Attend the tale of Mary the Evil! Mary, an incognito patron of Shit-Faced Shakespeare’s Macbeth who volunteered her spontaneous assassin services, bravely took to the stage on Thursday night at The Rockwell to competently stab with a foam sword and ninja-crawl her way across the stage and into our hearts. Mary may not have been the most formidable of hit-persons, but she was the most affable. 

Audience participation is a regular component of any Shit-Faced Shakespeare. Select attendees are charged with ringing a cowbell or banging a gong to signal that the evening’s drunk actor should imbibe another alcoholic beverage. On Thursday, there were even rhythmic shouts of “Chug!” and, my new favorite, “Twerk!”  Continue reading

May 18

“The Prom”: Celebrities Want Posterity, Find Purpose

Tori Heinlein (center) and ensemble. (Photo via Nile Scott Studios)

Presented by SpeakEasy Stage Company
Book & Lyrics by Chad Beguelin
Book by Bob Martin
Music by Matthew Sklar
Directed by Paul Daigneault
Music Direction by Paul S. Katz
Choreography by Taavon Gamble

The Huntington at the Calderwood Pavilion / BCA
527 Tremont Street
Boston, MA 02116
May 5–June 10, 2023

To purchase tickets, visit SpeakEasy Stage

Review by Gillian Daniels

BOSTON, Mass – The Prom begins as an unsentimental, comic takedown of show business opportunism. Broadway diva Dee Dee Allen (Mary Callanan) and leading man Barry Glickman (the charismatic Johnny Kuntz) look to soften their public image after their recent musical flop by utilizing a viral controversy in the midwest. Continue reading

May 10

Words, Words, Words (With a Few Feelings): “Joy and Pandemic”


Presented by The Huntington Theatre Company
Written by Talor Mac
Directed by Loretta Greco
Sound Designer and Composer: Fan Zhang
Voice coaching by Rebecca Schneebaum
Dramaturgy by Shirley Fishman
Movement Consultant: Ryan Winkles
Featuring Stacy Fischer, Ella Dershowitz, Marceline Hugot, Ryan Winkles, Breezy Leigh

April 21 – May 21, 2023
The Calderwood Pavillion
527 Tremont St.
Boston, MA 02116

Tickets

Review by Maegan Clearwood

BOSTON, Mass. — In an interview with dramaturg Shirley Fishman, Taylor Mac cites 19th century playwright Henrik Ibsen as a major influence behind Joy and Pandemic, currently premiering at Huntington Theatre. “Content almost always dictates the form,” Mac says, and indeed, the hyper-naturalism of judy’s (more about Taylor Mac’s pronouns here) play complements the central themes of belief versus reality.

The playwright whose echoing influence I heard the loudest however, was one of Ibsen’s contemporaries, George Bernard Shaw. This is a play about ideas, lots of them, with characters who represent opposing societal viewpoints and a captivating script that broadly prioritizes intellect over feeling. Continue reading

May 09

Conjuring History from Between the Lines: “Omar”

JAMEZ MCCORKLE C. AS THE TITLE CHARACTER IN BLOS OMAR. PHOTO BY OLIVIA MOON PHOTOGRAPHY

Presented by Boston Lyric Opera, co-produced by Spoleto Festival USA and Carolina Performing Arts at the University of North Carolina Chapel Hill
Music by Rhiannon Giddens and Michael Abels
Libretto by Rhianon Giddens
Conducted by Michael Ellis Ingram
Directed by Kaneza Schaal
Inspired by Dr. Ala Alryye’s translation of Mar ibn Said’s autobiography in his book, A Muslim American Slave: The Life of Omar Ibn
Published by and presented with permission of Subito Music Corporation

Emerson Cutler Majestic Theater
219 Tremont St, Boston, MA 02116
May 5 – 7, 2023

WCRB recorded a performance of BLO’s production for an episode of WCRB in Concert that will air in fall 2023. Sign up for recording broadcast updates here.

Critique by Maegan Bergeron-Clearwood

BOSTON, Mass. —

This past Saturday night, I was witness to a conjuring. Omar, a new opera co-created by Rhiannon Giddens and Michael Abels, is not just in conversation with history. It brings the past to life by filling in the gaps of archival memory and giving voice to a narrative that has otherwise slipped through the cracks of history.

Until now, the story of Omar ibn Said has largely been contained to academic circles, where it holds a critical place as the only known surviving account of United States slavery to have been written in Arabic. From this account, we know that Omar was an accomplished and devout Islamic scholar in present-day Senegal, when, at 37 years of age, in 1807, he was captured, transported to Charleston, South Carolina, and sold into slavery. Continue reading

Apr 17

I Want to Heal the World Through Dance: “Dance Nation”

Schanaya Barrows as Ashlee (front), Alison Butts as Sofia, Paola Ferrer as Vanessa, Erik P. Kraft as Luke. Photo: Danielle Fauteux Jacques

Presented by Apollinaire Theatre Company & the Chelsea Theatre Works
Written by Clare Barron 
Directed by Danielle Fauteux Jacques 
Choreographed by Audrey Johnson
Dialect coaching by Christopher Sherwood Davis 

April 14-May 14, 2023
Chelsea Theatre Works
189 Winnisimmet St
Chelsea, MA 02150

Critique by Kitty Drexel

CHELSEA, Mass. — Being a girl isn’t for the faint of heart.  In Dance Nation, a troupe of girls prepare for a competition and young adulthood by pushing their bodies and personalities to the brink. Amina (Audrey Johnson), Ashlee (Schanaya Barrows), Connie (Srin Chakravorty), Maeve (Ann Carpenter), Sofie (Alison Butts), Zuzu (Katie Pickett), and Luke (Erik P Kraft) learn choreography and how to navigate society through the skills they learn in dance class.

They could take it all the way to Tampa – the ultimate competition for the ultimate trophy! Dance Teacher Pat (Dev Luthra) is their guiding light and their worst enemy. Paola Ferrera plays an assortment of dance moms and Vanessa, a dancer who should’ve known better.  Continue reading

Apr 11

Whimsy and Existential Dread in Swampland: “Alligator-a-Phobia in 3D!”

Katherine Perry (foreground), Maurie Moore, Savannah Scott, Ernesto Garrido Gonzalez; Photo by Stratton McCrady.

Presented by Boston Playwrights’ Theatre
A BU New Play Initiative production, produced by Boston Playwrights’ Theatre and the Boston University College of Fine Arts School of Theatre
Directed by Shamus
Written and Music Composed by Jay Eddy
Set Design by Ami Okazaki

Boston Playwrights’ Theatre
949 Commonwealth Avenue
Boston, MA 02215
April 6-16, 2023
Thurs. 7:30 p.m., Fri. and Sat. 8 p.m., Sun. 2 p.m.
To purchase, visit www.BostonPlaywrights.org
Boston Playwright’ Theatre on Facebook

Critique by Gillian Daniels

(Boston, MA) A heart trembling with anxiety beats inside the slimy gullet of the workshop production of Alligator-a-Phobia in 3D!, a quirky, genre-jumping play with high energy musical interludes. In this dramedy, a naive, young couple moves to alligator-infested southern Florida swampland. Nature photojournalist Sweetness (the charming Katherine Perry) makes the change with enthusiasm. Happy (Leah Kreitz in a powerful performance), a poet who’s recently completed an MFA, slowly becomes frozen in fear by their predatory neighbors (the frenetic alligator ensemble of Kendall McShane, Maurie Moore, Ernesto Garrido Gonzalez, and Savannah Scott). Continue reading