(Boston) In the second show of their seventh season, called Ambition & Sacrifice, Bad Habit Productions continues to create theatre in small spaces that convey big ideas. At a grueling two hours without intermission in a studio theatre, this production feels at times like a test of endurance for the audience and the three person ensemble. Continue reading →
(Cambridge) Too often, biographies of American presidents are stories wrought with blind patriotism. Director Bill Rauch, however, has not shaped a play about patriotism but politics. Politics and morality may occupy the same place once in a while, but in Robert Schenkkan’s complex and vividly realized All the Way, ambition dilutes ideals quickly. Continue reading →
Aug. 23 – Sept. 1, 2013
Children Wharf’s Park, outside the Boston Children’s Museum
Brown Box Theatre Project on Facebook
Can’t attend these performances in Boston? You’re in luck! Following their Boston performances, the Brown Box cast and crew will pack up their set and continue their tour on the Eastern Shore of Maryland and Delaware.
Review by Gillian Daniels
The last production of A Midsummer Night’s Dream I saw before Brown Box Theatre’s was The DonkeyShow at the Oberon. Where the Oberon’s version was a show infused with drugs, sex, the excesses of 1970’s disco culture, and go-go dancer boys with body glitter, Brown Box Theatre fills its show with the excesses of Elizabethan fairies and water basins liberally placed around its stage. The long-running Donkey Show may be the toast of Cambridge, but Brown Box Theatre has captured a more vibrant energy in its traditional telling. Continue reading →
(Cambridge, MA 02138) Bread & Puppet Theater: Total This & That Circus. Held outdoors on Sunday, September 1st at 3 pm. On the Cambridge Common, near the intersection of Mass. Ave. and Waterhouse St., Cambridge. Free performance [pass-the-hat donations welcome], rain or shine. For further details, call the Boston-area Bread & Puppet Theater information line 617-286-6694 or log onto www.breadandpuppet.org.
As part of a world-wide birthday celebration of “50 Years of Sublime Arsekicking Puppetry,” the award-winning Bread & Puppet Theater from Vermont’s Northeast Kingdom presents their Total This & That Circus on the Cambridge Common, a public space they used to frequent prior to the mid-1980’s. For the past few years, the company has once again revived its descent upon the park, resurrecting that age old Harvard Square tradition of outdoor theatrical political rabble rousing.Continue reading →
Ensemble: Brian Agosta, Autumn Gillete, Corey O’Rourke, Sophie Shrand, Tim Stonelake, Christina Toohey, Marissa Wakuna, Misch Whitaker
Review by Kitty Drexel
(Cambridge) Boston’s Unscripted Musical Project at Improv Boston (formerly at Improv Asylum) is a good time. There’s cold beer and other beverages in the lobby. The seats are comfortable in the intimate mainstage theater. The cast will have you figuratively laughing your ass off in the first 10 minutes of the show. For these reasons and many more, B.U.M.P. is great – but it’s not for everyone. Continue reading →
“Honey, if you can’t love yourself, how the hell you gonna love someone else?…..Can I get an amen?”
- RuPaul RuPaul’s Drag Race, seasons 1 – Eternity
(Cambridge) It is difficult to come up with something new to say about Hedwig and her angry inch. It’s an amazing show with brilliant music. It’s easy to do well as long as the leading lady gives herself freely to her audience and the art. Even bad performances can be good so long as the performers remain sincere. Rose Tinted Productions’ version of Hedwige and the Angry Inch sits somewhere in the middle – it’s not mediocre but it isn’t revolutionary either. The cast, band and crew are dedicated to Hedwig’s story. That’s more than enough reason to attend. Continue reading →
(Cambridge) In its third year, the Circuit Theatre Company has already established itself as a small theatre company willing to take risks. Their recent IRNE nominations and current production attest to their boldness and artistic integrity. Circuit Theatre’s The Amish Project is the kind of show which can be interpreted in multiple ways. Continue reading →
Coeur de Pirate (French for pirate heart) is the stage name for award-winning French-Canadian singer Béatrice Martin. Her whimsical, magical pop songs blend cabaret music, French lyrics and playful indie sensibilities. In November 2011,Coeur de Pirate released her highly anticipated second recording, Blonde, coproduced by Howard Bilerman (Arcade Fire, The Dears) and Béatrice Martin herself. Kandle will open.
Béatrice Martin has been playing piano and keyboards since she was only three years old. After a brief stint as keyboardist with the now defunct December Strikes First, Martin briefly joined the Montreal-based indie-pop band Bonjour Brumaire as a vocalist and pianist but left in 2008 to record her self-titled debut album. Coeur de Pirate was issued in September 2008 to immediate national and international acclaim. It was propelled by massive popularity via her MySpace page and an unexpected gift courtesy of famed Québécois photographer Francis Vachon who used the song “Ensemble” as the soundtrack to a time-lapse video of his 9-month old son that went viral on YouTube. This immensely popular clip showcased Martin’s music to millions of new fans, earning her praise from Good Morning America, The Globe and Mailand Perez Hilton, among many others. Stories ran in popular fashion magazines (Elle, Chatelaine) and on TV, and radio quickly followed, leading to a record deal in France. Coeur de Pirate has since gone platinum in Canada and Belgium, triple platinum in France and gold in Switzerland. The album has gone on to sell over 600,000 copies worldwide.
Liars and Believers’ Icarus is a wobbly production, a Depression Era circus fable that limps when it pushes hard to soar. Like a small bird, the show is both endearing but weak. Its flourishes are strong: puppets, bluegrass, and robots. The result gives the audience a series of intriguing set pieces but nothing that really coalesces into a grand story.
Jason Slavick packs a lot into the show, the separate parts fluid and vibrant. The lead-up to the play itself includes burlesque and music, giving the centerpiece, Minnie Minoseczeck’s Menagerie of Marvels, a vaudevillean glamour. The trimmings for the circus are convincing, complete with posters promising a minotaur and a flying woman, Penny (Corianna Moffatt). Continue reading →
(Cambridge) The Hypocrites’ production of Pirates of Penzance is an absolute confection. Adapting the beloved Gilbert and Sullivan operetta to a quirkier, more contemporary stage, Sean Graney and Kevin O’Donnell infuse the original libretto and its score with banjos, bathing suits, beach balls, and a warmth that charms but never cloys. It’s energetic and just plain fun.
Premiering in New York in 1879, the original show has a long history of making audiences titter at lyrics like, “I am the very model of a modern major general.” The comic opera lampoons Victorian concepts of honor, piracy, politeness, the literary inconveniences of being a foundling, and, most importantly, duty. Continue reading →