Sept. 13 – Sept. 23, 2018 OBERON – American Repertory Theater 2 Arrow Street, Cambridge, MA 02138
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Review by Bishop C. Knight
(Cambridge, MA) Borrowed Cash was a band headlined by ex-lovers Ann Marie and Harper who were Brits parading as hillbilly Southerners. Between the ex-spouses, Ann Marie provided the most twanging, crooning songs center stage with eyes closed. Harper spent most of his time supplying the main keyboard riffs, singing backup harmonies, and blowing a harmonica. Harper is actually NYC-born actor Daniel H. Jenkins, and Ann Marie the Canadian actress Melissa van der Schyff. Neither are British or Southern, but both did a great job of playing bitter British bandmates who suffered a nasty divorce.Continue reading →
(Boston, MA) The Niceties is a play about primary sources. It’s about the writers of white history, and white history’s casualties. It’s about speaking effectively and effective listening. It’s about race and the people who decide what is and isn’t racist behavior. It’s about attempting to be a good person while being good to other people. It’s about an impetuous Black student who’s had enough of excuses from a white professor, and an egotistical white professor who’s forgotten how to teach. There are no winner; there’s only complication.Continue reading →
(Boston, MA) In Vicuña, the year is 2016, and Amir, a young Iranian-American tailor’s apprentice, gets thrown into the world of national politics when Kurt Seaman, the loose cannon business tycoon-turned underdog presidential candidate, drops in to order a special suit (made of fine vicuña wool) for his third debate against an unnamed female opponent. Caught between virtue and duty, flirting with Seamen’s daughter Ivanka—er, I mean Srilanka—and disaster, Amir must decide whether to make the suit and betray everything he believes in, or refuse and let his family and closest friends suffer the consequences of denying this powerful and dangerous man. Continue reading →
Representation matters. Straight White Men is written by an Asian playwright. Noelani Kamelamela was asked to write a review in addition to the critique written by Kitty Drexel. Both are posted below.
Review by Noelani Kamelamela
(Watertown, MA) The synopsis of Straight White Men seems like it would be a Men’s Rights Activist’s nearest and dearest dream brought to life. I imagine a white man in a polo shirt and khakis sitting down by the light of a tiki torch to read what would be a thoroughly delightful description: after all, the main action only involves four white men. Yup. Four white men. No women. No people of color. This hypothetical straight white man would see the name Young Jean Lee and maybe remember sweet ole Robert E. Lee. Perhaps it hearkens him back to time before, when America was great. “What a fine night of theatre!” this man in a barcalounger would remark aloud as he reached for his credit card and purchased a ticket to New Rep Theatre’s production which runs at the Mosesian Center for the Arts in Watertown through September 30th.Continue reading →
Charlestown, MA – Theatre on Fire (TOF) and Charlestown Working Theater (CWT) present NSFW by Lucy Kirkwood, directed by Artistic Director Darren Evans. A biting and hilarious satire of media mores and manipulation, NSFW takes on questions of who is responsible for mysogyny in our culture – men? women? producers? consumers? There are no easy answers in this scathing dark comedy.
The lads mag, “Doghouse,” has just proudly unveiled the winner of its Local Lovely 2018 competition. When buxom Carrie, 18, turns out to be only 14 years old, havoc ensure and her father threatens legal action. In an attempt to save the magazine, head editor Aidan sacks the well-meaning junior, Sam, who sanctioned the use of the shots. But Carrie’s irate father is not so easily mollified. When Sam shows up later at the women-centered “Electra” magazine, he gets to see another other side of the publishing world, for better or worse.
Premiering at the Royal Court in 2012, NSFW is a sharp, biting, satirical new comedy that marks the breakthrough of one of the United Kingdom’s most exciting playwrights.Continue reading →
Doors open at 7:00 pm. Show at 7:30 pm. Come by for some #FUNinBOS !
Somebody tell Permit Patty and BBQ Becky it’s going down in District Hall! Bodega has curated the most fearless and funniest performers in Boston for one night only. If you stay rooting for everybody Black, then this is the place to to The Intersection at District Hall in the Seaport for a night of comedy completely comprised of Boston creatives of color. Comedians, and improvisers will nourish your spirit and have you laughing until you snort. We promise.
Standups include Tooky Kavanagh, Reece Cotton and Sarah Francis.
The Intersection is part of the six day FUN festival hosted by the Greater Boston Chamber of Commerce and City Awake. For more ways to join the conversation and celebration of Boston’s Millennials of Color visit the festival site. Venue sponsored by the good folks at District Hall. Dinner and drinks available on-site at Gather restaurant.
FAQ: What are my transportation/parking options?
District Hall is closest to the MBTA Courthouse stop on the Silver Line. There are a number of bike racks available by the Seaport Boulevard entrance. In addition, DH is located right next to the Seaport Square station on the Hubway bikeshare network. If you drive in, there are a number of parking lots in the area: Pilgrim Parking – One Marina Park Drive Garage; LAZ Parking – Watermark Seaport; One Seaport Parking Garage.
The Black Clown Production Photo The cast of The Black Clown. Photo: Maggie Hall.
Presented by American Repertory Theater
Adapted from Langston Hughes’ poem Adapted by Davóne Tines and Michael Schachter
Music by Michael Schachter Choreographed by Chanel DaSilva Directed by Zack Winokur Music Direction by Jaret Landon Trumpets by Dave Adewumi and Robyn Smith Keyboards played by Jaret Landon and Bethany Aikin Reeds by Rajiv Halim, Isaiah Johnson, and Jason Marshall
(Harvard Square, Cambridge, MA) In The Black Clown program, the A.R.T. Artistic Director wrote how “Langston Hughes drew deeply on the traditions of African American music,” and Hughes would have been pleased with this production.
The pit orchestra breathed life into spirituals and added rhythmic profundity to operatic adaptations of Hughes’ poems. Keyboards were played by Jaret Landon, a Chicago-based composer who was the show’s Music Director, and Bethany Aiken, who studied Music History at Oberlin College. A theater experience fusing vaudeville, gospel, and jazz, Black Clown brought Langston Hughes’ verse to life onstage. Every musician in this production – from the trumpet players, to the actors who themselves are acclaimed singers – every musician, per their participation in this production, paid respect both to Hughes and to the African American music at the heart of Hughes’ art.Continue reading →
Trigger warning: references to bestiality, incestuous kissing
(Boston, MA) Sleeping Wezel’s Timbuktu, USA is an absurd political satire made digestible via the mechanics of a bedroom farce. There is opportunity a plenty to be delightfully offended by the comings and goings of Prestininzi’s chaotic neutral politicians. The buffoonery so closely resembles the US current political boondoggle that audience members may leave confused. Fear not, Timbuktu, USA is a diversion well worth any disorientation.Continue reading →
Presented by Fort Point Theatre Channel
by José Rivera
Director: Jaime Carrillo
Musicians: Nick Thorkelson, Mitchel Ahern, Anaís Azul, Francis Xavier Norton, Luz Lopez, Fernando Barbosa
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Aug 8th @ 6:00pm
Hyde Square Task Force
30 Sunnyside Street, Jamaica Plain
(In Boston’s newly designated Latin Quarter!)
Aug 14th @ 7:30pm
The Fort Point Room at Atlantic Wharf
290 Congress Street, Boston
Aug 17th & 18 @ 7:30pm
Boston Playwrights’ Theatre
949 Commonwealth Ave., Boston
Aug 21th @ 7:30 pm
267 East Main Street, Gloucester
Review by Diana Lu
(Various locations, MA) I remember once chatting with a friend about Japanese media. He mentioned that in a lot of Japanese narratives, a nuclear disaster occurs and the rest of the story deals with the aftermath. That rarely happens in American narratives, he noted, which focus on anxiety about impending disaster. That is, what we in the US fear the most, has already happened in Japan. Later, I heard a podcast discuss The Handmaid’s Tale. In it, one host observed that Atwood’s gruesome fictional future is actually the reality of the past, for black slave women. Continue reading →