Jan 31

Daddy Only Loves Winners: “The 25th Annual Putnam County Spelling Bee”

Hive’s Cast of “The 25th Annual Putnam County Spelling Bee.”

Presented by Hive Theatre Company 
Book by Rachel Sheinkin
Conceived by Rebecca Feldman
Music and lyrics by William Finn
​Directed & Choreographed by Margaret McFadden
Musical Director John Eldridge

January 22, 2026 – February 1, 2026
Plaza Theatre at the Boston Center for the Arts
539 Tremont Street
Boston, MA 02116

Critique by Kitty Drexel

“Caterjunes,” from UrbanDictionary.com
An old Nantucket whaling term with only one known citation.
“The neap tide draws. The Leviathan nears. Caterjunes.”
Definition by the_roflsauces from January 1, 2009.

BOSTON — Wednesday night’s subway and road traffic was awful. We braved massively crowded red, orange and green line cars to stumble our way to the Boston Center for the Arts. Hive Theatre Company presented The 25th Annual Putnam County Spelling Bee. We’re happy to say the production was worth all of the effort to get to the BCA. 

(A note to BCA employees: The weird smell that lived in the largest bathroom is in the lobby now. It’s heinous. Is it coming from the ceiling, the floors, the walls? Investigate it. Y’all need to do something before patrons stop buying tickets. It’s unfair to everyone to charge money and subject us to whatever is going on in there. Additionally, the paper towel dispensers aren’t loaded, and some of the soap dispensers don’t function. Caring about community includes caring about its spaces. Your hardworking janitorial staff can only do so much when the entire space requires renovation. )   

This is Hive’s second production and follow-up to last Fall’s The Wolves. The company says it engages the work of teens and young adults in its production. Its artists might be young, but they display a maturity beyond their years. From the minor details in its design to the character work of its actors, The 25th Annual Putnam County Spelling Bee is a solid production worth the weary steps across the ice and snow.  

The 25th Annual Putnam County Spelling Bee had a Broadway production directed by James Lapine in 2005. Its revival, directed by Danny Mefford, is currently running in New York at the New World Stages. A production famous for its 4th wall breaking, volunteer embarrassing hijinks and special guests off-Broadway included Daniel Radcliffe and Lin-Manuel Miranda. Hive’s production did not feature anyone terrifically famous on Wednesday. There is still time. 

Rachel Sheinkin and William Finnis’ musical turns the show’s audience into the audience for an elementary school spelling bee (as indicated by the title). Stakes are high for six prepubescent kids (Cameron Nye, Anna Wright, Alex Kennedy, Kaden Mays, Ashley Ha, Maya Gopalswamy) battling for the title of spelling bee champion and the chance to go to the finals in Washington. They spell real and pretend words while offloading intimate details about their personal lives. We experience secondhand embarrassment and, hopefully, mass empathy for these socially awkward, over-stressed kids who lack the experience to know that other opportunities for success will eventually arise if they keep going. 

Amanda Wade tackles the role of zealous adult judge and previous spelling champ, Rona Lisa Peretti. She is matched by Josh Telepman as the second judge and super creep, Vice Principal Panché. Salavatore Guillermo Garcia plays comfort counselor with a heart of gold and hand of juiceboxes, Mitch Mahoney. 

For folks familiar with the musical, characters such as Leaf Coneybear, Marcy Park, and William Barfeé are infamous for their quirky personalities. Hive’s production is notable because it’s clear that the entire cast dug deep to make their characters as eccentric as possible. From a tween political pundit-in-training to an ex-con, our actors made it delightfully weird.    

Margaret McFadden’s staging and choreography take great advantage of the set design by Kevin Deane Parker. Actors are flinging candy into the audience, running across the stage, and even forming a brief kickline. McFadden’s most inspired staging appears in “Magic Foot” and “I Speak Six Languages” thanks to castmembers Mays and Ha. Mays commits to the bit and gives us unusual athleticism for an antisocial speller. Ha is a quadruple threat: high kicks, the splits, and a short moment on the Music Director John Eldridge’s piano all while singing in multiple languages. McFadden’s Act 2 Love Ballet receives special mention for adding unexpected sweetness to a vulnerable moment between Barfeé and Ostrovsky (Gopalswamy). 

Additionally, scenic designer Parker and costume designer Samantha Wolfrum provide subtle depths to the production. Parker put matching functional waterbottles with matching Spelling Bee labels by each contestant’s chair, even the volunteer contestants, which matches the judge’s banner which matched the ceiling banner. An anti-bullying poster looked real. Wolfrum paid special attention to the details of her costuming: Peretti donned a glammy bee brooch. Coneybear, who dressed himself, wore a frog fannypack and a frog finger puppet. 

With all the subtle and unsubtle work going into The 25th Annual Putnam County Spelling Bee, we would be remiss if we didn’t offer some words of caution. A production such as this one invites the cast and its audience into a niche community within a niche community. Hive Theatre had many friends and family in its audience on Wednesday evening. Its actors invited many laughs. There were also laughs from inside jokes and friendships with audience members. 

Generally speaking, inside jokes should be avoided. They alienate an audience who may or may not know what is going on. The joke isn’t funny if everyone isn’t involved. Invite friends and parents to a dress rehearsal to get your giggles out. Paying patrons may not give you a second chance.   

In a poignant moment during The 25th Annual Putnam County Spelling Bee, the character Logainne Schwartzandgrubenniere, played by Anna Wright, goes on a heated tirade about the pointless renaming of the Gulf of Mexico and the Kennedy Center to appease a certain orange-skinned, vulva-throated pedophile protecting president with an ego so fragile that Fox News covers his terrible golf scores instead of national protests. We must consider what kind of world we are leaving our children’s children. Even we thousandaire, childless catladies need to be concerned about the next generations of American citizens, inside and outside of Greenland. Our kids are concerned for us all. That alone deserves our respect and support. 

Fuck Ice. 

Jan 25

First Time with Feeling: “The Great Pistachio”

Production Art.

Presented by Yorick Ensemble
By Nicholas Cummings
Directed by Rachel Hall
Fight choreography by Sydney T Grant
Puppet consultant: Em Sheeran

January 23 – February 1, 2026 
Boston Center for the Arts
Plaza Black Box Theatre
539 Tremont St.
Boston, MA 02116
Online playbill

Critique by Kitty Drexel 

BOSTON — The Great Pistachio is an absurd gem of a play about nothing and everything that starts with the letter B: Brechtian, Beckett, burrow, beg, bunker, banjo, beige, brown, bureau of criminal apprehension, bruise, beets, Bertram, Boris, and Beatrice. To a lesser extent, it’s a play about things that start with the letters A and C: apocalypse and company policy. Yorick Ensemble brings this eccentric but thoughtful one-act play from the New York and Edinburgh Theatre Festivals to the Boston Center for the Arts for two weekends. If you survive Snowmageddon 2026, it’s worth carving a path to the South End to see it before it flits to another city.

Hold on to your butt, we’ve got a weird one. In a bunker at the end of the world, brothers Bertrand Brambles (John Brownlie) and Boris (Tim Lawton) are working on very important projects. Bertrand has written his magnum opus: a five-act, 272-page play free from worldly influence. Boris is determined to finally catch up on his newspaper reading; he won’t budge until he does. But! Boris might watch Bertrand’s play if Bertrand finds it a cast.  Continue reading

Jan 20

The Invisible Work of Holding It Together in “Job”

Credit: Benjamin Rose Photography

Presented by Speakeasy Stage Company
By Max Wolf Friedrich
Directed by Marianna Bassham

Jan 16 – Feb 7, 2026
Stanford Calderwood Pavilion at the Boston Center for the Arts
539 Tremont St
Boston, MA 02116

Critique by Helen Ganley

Approximate run time: 1 hour 20 minutes with no intermission.

This production contains strong language, gun use, and discussions of trauma, violence, and abuse. Distressing sounds are used and were ethically sourced. Strobing effects and red and green flashing lights are also used.

BOSTON — “Everyone needs therapy.” As a 24-year-old woman living in Boston, it’s a phrase you hear tossed around constantly. It might be invoked while unpacking a friend’s toxic ex, a coworker’s strained family dynamics, or a roommate’s own internal battles. The phrase carries an easy confidence that there is a place for these stories to go, a person trained to receive them, and a clean separation between the one who speaks and the one who listens.

Job unsettles that assumption. Its patient is a content moderator, professionally tasked with absorbing the internet’s most disturbing images so others don’t have to encounter them. If therapy depends on the idea that pain can be transferred without consequence, Job asks what happens when both people in the room are already doing that work for a living. What begins as a therapeutic exchange becomes a hall of mirrors, where emotional labor reflects endlessly back on itself. Continue reading

Jan 14

A Dream Without a Plan Is Just A Wish: “The Great Privation (How to flip ten cents into a dollar)”

Yetunde Felix-Ukwu and Victoria Omoregie. Photo by Ken Yotsukura Photography.

Presented by Company One, a co-production with Woolly Mammoth Theatre Company
By Nia Akilah Robinson
Directed by Mina Morita
Dramaturgy by Sonia Fernandez

Jan 9 – Jan 31, 2026
The Modern Theatre at Suffolk University
525 Washington Street
Boston, MA 02111

Critique by Kitty Drexel

Approximate run time: 1 hour 30 minutes with no intermission.
Seating is general admission.
This play includes strong language and the use of flashing lights.

BOSTON — For theatre folks, nothing puts current events into perspective like a play. America feels like it’s on fire, but it always has been. The Great Privation (How to flip ten cents into a dollar), now running at Suffolk University’s Modern Theatre through Jan. 31, shows us how to find joy with our loved ones during our darkest moments; times and practices may change, but people do not; and, we may not get the closure we want, we get the closure we get. If you need a short break from the news to redirect your intentions, check out Company One’s Pay-What-You-Want tickets Continue reading

Jan 10

Love with A Bitter Core: The BLO & BSO’s “Vanessa”

Photo credit: Winslow Townson, courtesy of the BSO

Presented by Boston Symphony Orchestra in collaboration with Boston Lyric Opera
Music by Samuel Barber 
Libretto by Gian Carlo Menotti
Conducted by Andris Nelsons
Staging coordination by Alexandra Dietrich
Tanglewood Festival Chorus: Betsy Burleigh, guest choral conductor
Boston Lyric Opera Chorus: Brett Hodgdon, chorus director

Boston Symphony Hall
Thursday, January 8, 2026 
Saturday, January 10, 2026
301 Massachusetts Avenue 
Boston, MA 02115
Online Playbill 

Sung in English with supertitles

Critique by Kitty Drexel

BOSTON — This critique discusses the BLO & BSO concert production of Vanessa currently at Symphony Hall. As you read, please keep in mind several truths: The Corporation for Public Broadcasting Board, the private, nonprofit corporation created by Congress to steward the federal government’s investment in public broadcasting, voted to dissolve on January 5 after 58 years of American public service. 

The President and his Secretary of War (lol) illegally kidnapped the Venezuelan President and his wife for oil, and Instagram hits. 

A trained ICE mercenary murdered unarmed citizen Renee Nicole Good in Minnesota on January 7 when Good began driving her civilian vehicle away from an enforcement operation. 

These things are not normal. Life under these circumstances, whether you agree with the media’s portrayal of them or not, is not normal.

During these unprecedented times under fascism, the BLO and the BSO are commended for their elegant production of Barber and Menotti’s Vanessa, a 1958 Pulitzer Prize-winning opera by two gay men, one an Italian immigrant. It was composed at a time when it was unthinkable (and frequently illegal) to be out, and Italians weren’t entirely white. Vanessa was a necessary distraction from the impending fall of democracy. Continue reading

Dec 30

When kindness and representation aren’t enough: “Wonder: The Musical”

Garrett McNally and Donovan Louis Bazemore in Wonder. Photo: Hawver and Hall

Presented by American Repertory Theater
Based on the novel “Wonder” by R.J. Palacio and the Lionsgate and Mandeville film Wonder
Book by Sarah Ruhl
Music and Lyrics by A Great Big World (Ian Axel and Chad King)
Directed by Taibi Magar
Scenic design by Matt Saunders
Featuring: Melvin Abston, Kaylin Hedges, Alison Luff, Garrett McNally, Javier Muñoz, Nathan Salstone, Max Voehl 

December 17th, 2025 – February 8th, 2026
Tickets
Loeb Drama Center
64 Brattle Street, Cambridge, MA 02138
Online playbill

Review by Maegan Clearwood

This production depicts bullying and contains fog, haze, strobe, and flashing lights. Recommended for ages 9+.

CAMBRIDGE, Mass. — With the debut of Wonder: The Musical, the A.R.T. was simultaneously presented with a monumental opportunity and an obstacle. The source material, R.J. Palacio’s 2012 book of the same name, has been lauded as a groundbreaking story of empathy through its first-person portrayal of Auggie, a preteen boy with a facial difference. A Google search for reviews brings up words like “uplifting,” “heart-rending,” and “inspirational.” 

These very terms that are used to praise the novel are, however, at the root of frequent critique from members of the disability* rights community. Stories about disability far too often rehash tired tropes, portraying disabled characters as “objects of inspiration or charity,” as Professor Ari D. Ne’eman noted in a Harvard School of Public Health panel about the musical, rather than complex people in their own right. These tropes point to the fact that such stories are about disabled people, but not by or for them. (Editor’s note: We in the disabled community call this Inspiration Porn, a term coined by comedian and activist Stella Young. Check out her 2014 TEDx Talk. )  Continue reading

Dec 24

An Opportunity to Tell the Truth or, Your Silence Will Not Protect You: “Is This A Room”

The cast. Photo via Apollinaire Theatre Company.

Presented by Apollinaire Theatre Company
By Tina Satter
Based on the original FBI Verbatim transcript is HERE.  
Directed by Danielle Fauteux Jacques
Scenic & Sound Design: Joseph Lark-Riley
Lighting Design: Danielle Fauteux Jacques
Stage Manager: Kaleb Perez-Albuerne
Assistant Stage Managers: Miguel Dominguez, Laura Hubbard
Featuring: Parker Jennings, Brooks Reeves, Cristhian Mancinas-Garcia, Bradley Belanger

Dec. 12, 2025-Jan. 11, 2026
Chelsea Theatre Works
189 Winnisimmet Street
Chelsea, MA 02150

Is This A Room on The Culture Show Podcast 

FBI Verbatim transcript is HERE.  

Approximately 75 minutes with no intermission. 

Content warning: Flashes of light, high tension, The Fed

Article by Kitty Drexel

“I sincerely apologize and take full responsibility for my actions. In particular, I want to apologize to my family.”  – Reality Winner to Chief U.S. District Court Judge J. Randal Hall at her federal trial in Augusta, GA in 2017.

CHELSEA, Mass. — On June 3, 2017, Reality Winner, a linguist contractor for the National Security Agency, was questioned by the Federal Bureau of Investigation in Augusta, Georgia, regarding her part in the leak of a classified document to The Intercept. Their conversation was recorded in accordance with FBI protocol. The leaked document was a classified report about Russian interference in the 2016 presidential election. 

On August 23 of that year, Winner was convicted and sentenced to five years and three months in a federal prison under the Espionage Act of 1917. At the time, it was the longest federal prison sentence ever imposed for classified leaks to the news media.  Continue reading

Dec 16

He’s a Bollocks, but He’s Our Bollocks: “An Irish Christmas”

Photos by Nile Scott Studios. This cast & crew photo would make an excellent holiday card.

A New England Premiere!
Presented by Greater Boston Stage Company
By Matthew Keenan
Directed by Weylin Symes
Dialect coaching by Lee Nishri-Howitt 
Featuring Alex Deroo, Alex M. Jacobs, Chris Kandra, Julia Hertzberg, Alex Leondedis, Ross MacDonald, Paul Valley, Richard Snee, and Robert Walsh
With rotating walk-on appearances by Eleanor Colleran, Phoebe Jacobs, Gilda Fitzpatrick, and Anya Flores
Musicians: Lindsay Straw with rotating collaborators: fiddlers Cara Frankowicz and Clare Fraser, and accordionist Dan Accardi.

December 5-21, 2025
GBSC Main Stage
395 Main Street
Stoneham, MA 02180
Online playbill

Critique by Kitty Drexel

Advisory: Colorful language and discussions of death.

STONEHAM, Mass. — ‘Twas the night before Christmas, and all through the pub/ Some regulars (Ross MacDonald and Paul Valley) were drinking despite the grievances of its Scroogey schlub (a stern Robert Walsh who gives the role of David hidden depths). The bar and toilets were stocked by tender Bartek (a stalwart Alex Deroo) with care/While rosy-cheeked Frank (Richard Snee) hoped that sobriety would ne’er be there. Simon (Alex Leondedis) and Anna (Julia Hertzberg) bundled up in their coats/Had sincere glad tidings stuck in their throats. While all dreamed of gifts from ole Saint Nick/David chased them off by being a dick. With the arrival of Michael (Alex M Jacobs), blood brother and friend/David looked up from his accounting book and brought the jolliness to an end.

 “Now, Simon, Now Michael! Now, Frank and Jim! Now, Julia! Now, Bartek! Get away with that din!” The owner chased them out the bar/He chased them all out. 

So David was left to suffer alone for eternity/We’ve no doubt.    Continue reading

Dec 15

Champing at too many bits: “Horseplay (Played by Medusa the Horse)”

Presented by Fork & Shoe Theatre Cooperative
Written and directed by Charlie Snow
Scenic and lighting design by Isaac Zerkle
Choreography by J Cramer
Musical direction by Elise Brown
Costume design by E. Rosser
Puppetry design by Nick Chieffo
Featuring: Caleb Palmer, Mabel White, Tiffany Santiago, Robert Thorpe II, Cara Clough, Sophie Pels, Michael J Blunt

December 11 – 14, 2025
BCA Plaza Theatres
539 Tremont St.
Boston, MA 02116

Review by Maegan Clearwood

BOSTON — In spite of all its weirdness, the world of Horseplay (Played by Medusa the Horse) isn’t very different from our own. Animals talk and pickles are an illicit substance, but in the offices of equine billionaire CEO Medusa Maria Groucho Martini the 10th, the capitalist machine churns along as unfeelingly as ever.

At the machine’s mercy is Julie Fern the Unpaid Intern (an appropriately frenetic Mable White). Practical, well-educated, and constantly on the verge of a nervous breakdown, Julie has eight other jobs, but this time, she thinks, maybe this time, she will finally unlock the secrets of adulthood. Continue reading

Dec 12

The bells are ringing out for Christmas day: “A Celtic Christmas” by A Taste of Ireland

A Celtic Christmas cast photo by A Taste of Ireland.

Presented by Pace Live: A Taste of Ireland
Dancers on Dec. 11, 2025, 7 PM:
Principal Dancers – Brittany Pymm, Gavin Shevlin
Soloists – Cian Walsh
Understudies – Meagan Urbanek, Isaac Loxley
Ensemble members – Fiona Shanley, Natalie Wagner, Jess Miller, Catilin Ward, Colleen McCarthy, Hannah Cunniffe, Dillon D’Amore, Michael Roberson, Enda Keane, Ciaran Bagley
Band:
Megan McGinley – Fiddle
Joel Libed – Vocalist
Aaron O’Grady – Guitarist
Simon Lace – Guitarist/Banjo

Dec. 2-14, 2025
Boston Center for the Arts
Calderwood Pavilion
527 Tremont Street
Boston, MA 02116

Critique by Kitty Drexel

2 hours with one intermission

BOSTON — A Taste of Ireland presents a pepperminty-fresh holiday Irish dance concert, A Celtic Christmas, now at the Boston Center for the Arts. It’s a perfect treat for the avid dancer enthusiast and hobbyist alike. Tickets are available for this touring production’s Boston stop through Dec. 14.

Direct from its Off-Broadway season, A Taste of Ireland brings A Celtic Christmas to Boston for the first time. It features Irish dance competition champions and stars from Lord of the Dance and Riverdance. Frankly, the stamina, flexibility and athleticism of these dancers is remarkable. These performers dance for two hours with only the briefest of pauses for costume changes with a live band that meets them halfway. While the show’s loose plot relies heavily on hetero-normative gender roles to push its narrative, the dancers’ impressive skill is a heartbeat keeping the audience focused on the stage. Even if Irish dance isn’t your idea of fun, one can’t deny how impressive their artistic labor is.   Continue reading