(Lowell, MA) As a father of an adopted child, I often wonder how I will guide my son through the emotional stages of thinking about his origin story. I picture many long, earnest, possibly tear-filled conversations that will be good for us to go through, but certainly not entertaining. In Little Orphan Danny, wiseass rock singer Dan Finnerty decided to tell his own story of adoption, and it’s indeed a tearjerker of a musical. My eyes were wet and my ribs were sore from laughing so hard. Continue reading →
(Boston, Massachusetts)I assume that unlike many in the audience at the Wimberly Theatre, I went to the Calderwood Pavilion knowing nothing substantial about Cabaret and naïvely expecting lots of eye-high rockette dance moves. Seated with friends before the show, I opened up a program and encountered a quote by Christopher Isherwood, the British-American novelist who holds a principal place within my private imaginative world. This quotation was from Isherwood’s Goodbye to Berlin, upon which Cabaret is based, and it goes “I am a camera with its shutter open, quite passive, recording, not thinking. Recording the man shaving at the window opposite and the woman in the kimono washing her hair. Someday, all this will have to be developed, carefully printed, fixed.” Continue reading →
(Boston, MA) Many an opera is devoted to women’s pre and post connubial anxieties. With all of the riches for women, one must ask where are the men? In Miss Havisham’s Wedding Night Dickens’ spinster is an anti-heroine reliving a decades old tragedy. In The Beautiful Bridegroom, a Lady, her daughters and maid all wish for wedded bliss. If weddings are such fun, there should be operas from the giddy perspective of tenors in tuxes and basses in vestments. A person is supposed to like the person they marry. For all its progress, opera has further to go.
(Boston, MA) Ethel and Julius Rosenberg were accused of delivering crucial information on the creation of the atomic bomb to the USSR in 1953. This case, considered one of the most infamous spy cases in US history, validated HUAC and contributed to the country-wide paranoia known as the Red Scare. Such attacks on communist affiliates is similar to the current presidential administration’s attacks on socialism. The Rosenbergs(An Opera) considers the couple accused of treasonous espionage. It proves that the American government and the people it claims to serve have changed very little in the last 65 years.Continue reading →
(Cambridge, MA) The Laramie Project, by the Tectonic Theater Project, premiered in 2000. It is an amalgamation of over 200 interviews with the residents of Laramie, Wyoming, detailing the circumstances and consequences of the hate crime perpetrated against Matthew Shepard in 1998. Continue reading →
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March 9 – 30, 2018
40 Prospect Street in Central Square
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Review by Diana Lu
(Cambridge, MA) Halfway between improvised comedy and two-act play, Somewhereville tells the hilariously horrific tale of a post-apocalyptic nightmare in which the world has ended because of – audience suggestion? In its final installment, it was the Kardashians who were responsible for destroying civilization. We learn in the three-character monologue opening that the “KKK-KK” has created an idiocracy-like hellscape via excess consumerism and social media over consumption. Continue reading →
Presented by Arlekin Players Theatre Based on the novel by Mikhail Bulgakov
Original stage composition based on the novel written by Igor Golyak and Zhenya Brodskaya
English translation by Yana Minchenko
Composed by Jakov Jakoulov Directed by Igor Golyak
Choreographed by Victor Plotnikov
(Emerson College)A Dead Man’s Diary was a drama performed in Russian, and patrons could request an earplug device that provided English voiceover during the production. The play begins with our main character Sergei Maksudov writing a novel that is inspired by a dream of his native city and, upon completing this work, Maksudov shares his manuscript with various writers and critics. One of his readers prompts Maksudov to adapt the book to a play, and thus commences Maksudov’s meanderings through the world of theatre ‒ a sphere where he is scorned by the director of the Moscow Art Theater, Stanislavsky. At its core, Mikhail Bulgakov’s Theatrical Novel examines a writer’s sacred love for theatre.Continue reading →
Presented by Boston Lyric Opera Music by Kurt Weill Libretto by Bertolt Brecht English translation by Michael Feingold Original German text based on Elisabeth Hauptmann’s German Translation of John Gay’s The Beggar’s Opera Conducted by David Angus Stage directed by James Darrah
(Boston, MA) 3Penny is not your Daddy’s stodgy traditional opera. Kurt Weill and Bertolt Brecht were communist rabble rousers hell-bent on challenging the operatic form. They were freedom fighters rebelling against the Nazis through theatre. A stalwart Marxist, Brecht wanted to destroy opera’s association with the bourgeoisie. Weill believed opera could belong to the proletariat if given the opportunity. Both would have appreciated the BLO’s production of The Threepenny Opera. Opera purists would not. Continue reading →