Oct 16

“Barber of Seville”: Not A Useless Precaution

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The cast; photo by Liza Voll Photography.

Presented by Boston Lyric Opera
Score by Gioachino Rossini
Libretto by Cesare Sterbini
Conductor David Angus
Stage Director Rosetta Cucchi

October 12 – 21, 2018
Emerson Cutler Majestic Theater
219 Tremont Street
Boston, MA  02116
BLO on Facebook

Review by Diana Lu
(Boston, MA) The Barber of Seville, or The Useless Precaution, remains one of the most well-known pieces of classical music in the modern world, and for good reason. The score sparkles and gambols, flickering from one indelible motif to the next. The libretto tells the universally appealing story of youth counterculture fighting for love and sticking it to the man. Continue reading →

Oct 15

Ratched Isn’t Bossy; She’s the Boss: “One Flew Over The Cuckoo’s Nest”

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Nurse Ratched and McMurphy spar. Mary Dennis Photography.

Presented by Theatre Uncorked
By Dale Wasserman
Based on the novel by Ken Kesey
Directed by Bobbie Steinbach

Oct. 13, 2018
3:30pm and 7:30pm
Martin Jewett Hall
First Church Cambridge
11 Garden St
Cambridge, MA
Theatre Uncorked on Facebook

Critique by Kitty Drexel

(Cambridge, MA) One Flew Over the Cuckoo’s Nest the play is a different beast from One Flew Over the Cuckoo’s Nest the novel. The novel is directly influenced by author Ken Kesey’s experiences as an orderly at a mental health facility in California. The novel was written amidst the Civil Rights movement and is a direct response to the deinstitutionalization movement. It is imperative that and audience understand the stark differences between care expectations between the 60’s and today. One Flew Over the Cuckoo’s Nest the novel is a heavy read. The play as staged by Theatre Uncorked could be viewed by nearly anyone. Continue reading →

Oct 15

Cirque of the Dead Preview: The Nightmare Continues

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Presented by Boston Circus Guild
Directed by Joseph C. Walsh
October 19 – October 31, 2017

The Oberon
2 Arrow Street
Cambridge, MA 02138
Cirque of the Dead on Facebook

Preview by Gillian Daniels

(Cambridge, MA) Last year, in 2017, Cirque of the Dead delighted me with Jumanji-esque antics and host Wes Hazzard’s charisma.

This year, in another callback to one’s youth for an adults-only murder show, the theme is Choose Your Own Adventure. The 2018 show promises new acts, acrobats, aerialists, butts, cannibalism, monsters, sex, and a bar full of specialty cocktails.

Joseph C. Walsh will be directing and says, “This exciting event combines breathtaking circus skills, startling theatricality and classic horror to offer its audience a unique and immersive experience. The incredible performers have stretched me artistically and inspired me with their astounding abilities and passion for pushing the boundaries of the modern circus genre.”

Music will be provided by Minusworld, a nerd-themed, “high-energy Synthrock” band.

Boston Circus Guild (BCG) describes itself as “a collaboration of over fifty musicians, artists, circus performers, dancers, and event producers from the Boston area. BCG members regularly perform at prestigious events and venues throughout New England including the Museum of Fine Arts Boston, Pfizer, Cirque du Soleil, and The Boston Bruins Foundation.” I had to scrape my jaw off the floor after witnessing last year’s acrobatics. I expect nothing less than spectacular.

Last year, I also wrote,  “The visuals are deeply compelling and wonderfully gross. […] The sense of escapism Cirque of the Dead represents, gory and grim as it may be, is invaluable and beautifully articulated with supreme commitment to physical flights of fancy.”

And I can’t wait for the next chapter.

Performances:
Friday, October 19: 7:00PM & 10:30PM
Saturday, October 20: 6:30PM
Thursday, October 25: 7:30PM
Friday, October 26: 7:00PM & 10:30PM
Saturday, October 27: 6:30PM
Wednesday, October 31: 7:00PM & 10:30PM

Oct 14

Netflix and Fringe: A Fireside Chat with Theatre on Fire

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Photo from a TOF production. Theatre On Fire Presents “FireSide Chat: Tell Us What You Want” on October 17, 7-8PM

The first of many FireSide Chats with the new Theatre On Fire company! This enriching, moderated cyberspace discussion with Theatre on Fire company members and you, the patrons, will center on how our small theater company can be everything that it should, especially given that it’s pretty easy now for people to just stay home and watch Netflix and whatnot.

What was your favorite thing a theater company ever did for you as an audience? We want to know. Least favorite? We want to know that too. What would you like to see from us in the next few months? We want to know that always.

To take part, go to patreon.com/theatreonfire, make sure you’re signed up at any level (even $2!), and watch for our posts there beginning at 7:00.

“FireSide Chat: Tell Us What You Want”
Hosts: Darren Evans, Kitty Drexel, Carl Danielson
October 17, 2018
7:00-8:00 PM
Attend online: patreon.com/theatreonfire

Oct 11

Frankenstein was the Monster: “Frankenstein”

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Produced by The Nora Theatre Company & Underground Railway Theater; A Catalyst Collaborative@MIT Production; Design by Bird Graphics.

Presented by Central Square Theater
Produced by The Nora Theatre Company & Underground Railway Theater
By Nick Dear
From the novel by Mary Shelley
Directed by David R. Gammons
Dramaturgy by Hilary Rappaport
Ensemble: Remo Airaldi, Omar Robinson, John Kuntz, Ashley Risteen, David Keohane, Debra Wise

Oct. 4 – Nov. 4, 2018
Central Square Theater
Cambridge, MA
CST on Facebook

Trigger warning: rape, violence, body horror, strobe effects, spoilers

Critique by Kitty Drexel

(Cambridge, MA) Prometheus stole fire from Mount Olympus and gave it to mankind. For his indiscretion, Zeus condemned the Titan to an eternity of epic liver failure (a complication of eagle hunger). Shelley’s novel Frankenstein; or, The Modern Prometheus warns a relatively modern audience not to play with fire lest one get burned. It plays out similarly in contemporary Halloween favorites such as The Rocky Horror Show and Prometheus that frustrating movie by Ridley Scott. It takes new form as Central Square Theater’s current production. As long as there is science, there will be humans poking around where they shouldn’t be poking. Continue reading →

Oct 09

How I Learned to Stop Worrying and Love Uranium: “Delicate Particle Logic”

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Photos by Jake Scaltreto; Christine Power as Lise Meitner, Barbara Douglass as Edith Hahn. Blanket babies are the easiest babies.

Presented by Flat Earth Theatre Company
By Jennifer Blackmer
Directed by Betsy S. Goldman
Dramaturgy by Regine Vital  
Violence choreography by Cassie Chapados  
Dance choreography by Meghan Hornblower  
Language consultation by Allison Olivia Choat  
Artistic ASL direction by Elbert Joseph

September 28th – October 13th, 2018
ASL-Interpreted Performance: October 13th at 8pm
The Mosesian Center for the Arts
321 Arsenal Street
Watertown, MA
Flat Earth on Facebook

Trigger warning: One character is willingly committed to an asylum, misandry

Critique by Kitty Drexel

“Science and art both relentlessly pursue truth and meaning. In the past, scientific and medical procedures were performed in front of witnesses, audiences, if you will, who were able to verify the truth of what took place. For me, science and art were never at odds, and part of my overall goal as an artist is to get audiences to understand that. We still think of science and art as two separate cultures, but they’re more alike than most people realize.”

  • Flat Earth Theatre interview with Jennifer Blackmer

(Watertown, MA) Jennifer Blackmer crams a lot into two hours of theatre. Delicate Particle Logic (DPL) tells the story of how Otto Hahn stole nuclear fission from Lise Meitner. He committed war crimes for the Nazis in the name of “chemistry,” and claimed the Nobel Prize in 1944… Wait, I’m getting ahead of myself. DPL is about Otto Hahn’s work-wife, Meitner, his home-wife, Edith Junghans Hahn, and their imaginary friendship. Edith and Meitner’s performance of emotional and physical labor on behalf of a man holding more respect for his work than for his partners. Between the science and the toxic masculinity, there is art: glorious, painful, epiphanic art. Continue reading →

Oct 09

A Haunted House, With Music : JEKYLL & HYDE

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Constantine Maroulis (Edward Hyde) with William Mulligan (The Bishop of Basingstoke). Photo©Paul Lyden

Presented by North Shore Music Theatre
Directed By Robert Cuccioli
Music Direction By Milton Granger
Choreographed By Kelli Barclay
Book And Lyrics By Leslie Bricusse
Music By Frank Wildhorn
Originally Conceived By Steve Cuden and Frank Wildhorn

September 25 – October 7, 2018
Beverly, MA
NSMT on Facebook

Review by Craig Idlebrook

(Beverly, MA) As I was attempting to become a fiction writer, I thought I had found a clear path to getting published by watching the Lifetime Channel in November and December. The channel was chock full of terrible movies, all about some aspect of Christmas. It occurred to me that while you had to sell your soul to get a $10 check from a literary journal, surely they had to pay someone to write this shlock, and there was always demand for it. Continue reading →

Oct 05

An Anglo-American Commentary: “Sherlock’s Last Case”

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Rufus Collins, Mark Zeisler, and Malcolm Ingram in SHERLOCK’S LAST CASE. Photo: T. Charles Erickson

Presented by Huntington Theatre Company
Scenic Design by Hugh Landwehr
Written by Charles Marowitz
Directed by Maria Aitken

September 28 thru October 28, 2018
Huntington Avenue Theatre
264 Huntington Ave, Boston, MA 02115
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Written by Bishop C. Knight

(Avenue of the Arts, Boston)  What I appreciate about the Sherlock and Watson mysteries are the stories’ focus relationships.  Sherlock and Watson’s cases are often initiated by a client who needs help with a relative and, at least once before the mystery is solved, Sherlock or Watson expresses loving gratitude for the delightfully dotty Mrs. Hudson.  My favorite character is Dr John Hamish Watson, whom I adore for the same reasons I adore Tom Hagen in The Godfather saga.  Dr Watson is an intelligent, reliable, and logical gentleman with an understated wit.  He is quiet, loyal, short and handsome. I might have a crush on Doctor Watson… Continue reading →

Oct 05

Boldly “Being Earnest”

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Photos: Nile Scott Studios

Presented by Greater Boston Stage Company
Direction and Choreography by Ilyse Robbins
Music by Paul Gordon and Jay Gruska

13 September to 7 October, 2018
Greater Boston Stage Company
395 Main St, Stoneham, MA 02180

Written by Bishop C. Knight

(Stoneham, Massachusetts) In September, I attended the East Coast Premiere of Being Earnest at the Greater Boston Stage Company (GBSC).  This comedy runs for another week ‒ featuring actress Ephie Aardema who performs internationally, as well as other accomplished actors.  GBCS’s adaptation is set in 1960s London, and the composers stayed true to Oscar Wilde’s play. Continue reading →

Oct 02

“Meet Fred,” No Strings Attached!

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Presented by Puppet Showplace Theater
By Hijinx Theatre in association with Blind SumMiT
Directed by Ben Pettitt-Wade
Fred theme music by Jonathan Dunn
Puppetry dramaturgy by Tom Espina & Giulia Innocenti

Sept. 28-30, 2018
Plaza Theatre
Boston Center for the Arts
Boston, MA
Puppet Showplace on Facebook
Hijinx on Facebook

Review by Diana Lu

(Boston, MA) In Meet Fred, three-man puppetry meets meta-theater meets sociopolitical satire meets disabilities awareness. All this was beautifully woven together with tight storytelling, sharp humor, and arresting visuals. The result is one of the most engaging, funny, and touching theater experiences you will ever have. Continue reading →