Dec 02

A Toast to Life’s Simple Pleasures: “A Year with Frog and Toad”

Posted on by

A Year with Frog and Toad. Photo by Nile Scott Studios.

Presented by Wheelock Family Theatre
Based on the books by Arnold Lobel
Music by Robert Reale
Book and lyrics by Willie Reale
Directed by Leigh Barrett
Music direction by David Freeman Coleman
Scenic design by Jenna McFarland Lord
Lighting design by Deb Sullivan
Costume design by Chelsea Kerl
Choreography by Brad Reinking
Featuring: Alan Cid, Kristian Espiritu, Will McGarrahan, Anthony Pires Jr., Tader Shipley

November 30 – December 15, 2024
200 The Riverway, Boston MA 02215
Tickets HERE

Run Time: Approximately 80 minutes without intermission

Review by Maegan Bergeron-Clearwood

BOSTON — The quiet seasonal joys depicted in A Year with Frog and Toad are a far cry from what many are experiencing this 2024 winter. Instead of end-of-year deadlines, unwelcome ads, and existential political dread, these beloved critters’ lives are occupied with kind favors and hot bowls of soup. It’s the kind of simple but evergreen message that’s best told through a children’s story: life’s richest moments are often the most mundane. Continue reading →

Nov 29

Don’t Trust Colonizers’ Stories: “The Thanksgiving Play”

Posted on by

Ohad Ashkenazi, Jasmine Rochelle Goodspeed, Marisa Diamond* and Johnny Gordon; Photograph: Sharman Altshuler

Presented by Moonbox Productions
by Larissa FastHorse
Directed by Tara Moses
Dramaturgy by Kailey Bennett

Featuring: Jasmine Goodspeed, Johnny Gordon, Ohad Ashkenazi, Marisa Diamond
Partnered with the North American Indian Center of Boston (NAICOB)

Nov. 21 – Dec. 15, 2024
Arrow Street Arts
2 Arrow St.
Cambridge, MA 02138

Running Time: 90 minutes, no intermission

Age Guidelines: Recommended for ages 13+

Content Warning: This production contains adult language, mature themes, racism, redface, violence, and unsettling truths of both Massachusetts’ and America’s history.

Review by Noelani Kamelamela

CAMBRIDGE, Mass. — I am Kanaka Maoli, and the mainstream Thanksgiving story never felt quite real to me especially once I became an adult, because the watered-down story we were fed in Hawai’i of how our people were betrayed to the Americans sounded very unlike what we knew. So, I sincerely doubted that the sweet, clean story of sharing and caring in the early British colonies was anything like the reality. I don’t expect theatergoers to glean the full story out of Moonbox Production’s run of The Thanksgiving Play by Larissa Fasthorse. I would love to see this show in rep with another biting satirical work Straight White Men by Young Jean Lee. Continue reading →

Nov 29

Food Is Not Enough: “Did You Eat? (밥 먹었니?)”

Posted on by

DID YOU EAT? (밥 먹었니?), Written and Performed by Zoë Kim*. Photo by Maggie Hall

Presented by Chuang Stage and Seoulful Productions
Written and Performed by Zoë Kim 
Directed by Chris Yejin
Dramaturgy by Amrita Ramanan
Choreography by Christopher Shin
Scenic and costume design by Szu Feng Chen
Sound design by Katie Kuan-Yu Chen
Lighting design by Ari Kim

Nov. 12 – 30, 2024
Boston Center for the Arts
Plaza Black Box Theatre 
539 Tremont St.
Boston, MA

Article by Kitty Drexel

Age Recommendation: Did You Eat? (밥 먹었니?) is recommended for audiences aged 13 and older.

Content Advisory: Experiences of childhood trauma, self-harm, and suicidal ideation.

BOSTON —  In the playbill for Did You Eat? (밥 먹었니?) after the Chuang Stage season info but before her polemic on the white entertainment industry, playwright and performer Zoë Kim writes a letter to the audience. She says, “I wish, For fathers to value their daughters. For mothers to believe their daughters.” As an emotionally neglected child who also grew into a strong, independent woman out of spite, I sincerely wish that, too. There are a lot of us out there. Kim’s story is her own, but unfortunately, her show’s themes are universal. 

Kim’s letter continues: she wishes “For you to ask a loved one how they would like to be loved.” 

We could not possibly understand the horrors and grief Kim experienced for decades at the hands of her verbally, physically and psychically abusive parents. Her autobiographical play about the family who spoke love but acted hate is Kim’s own; it shines a light on the traumatic experiences of young and adult women raised by parents who couldn’t, wouldn’t or refused to love them. Gather a group of trusting women together and they will share their stories of abuse. My mother had stories; I have stories; my sisters and aunts in faith (not blood) have them, too. We are not an anomaly, we are the victims of a pandemic of violence against women and girls. 

Kim wishes “For you to share how you would like to be loved.” 

These are the words I share with other survivors: Your abuse is not your fault. You deserve wondrous love. You deserved better then and you deserve better now. 

At a certain point in their adult development, an abused adult who perpetuates abuse onto others chooses their pain over healing. Your abuser chose to hurt you. No matter their cultural or personal excuses it was their choice and never your fault. It is possible to choose love while also choosing to hold your abuser accountable. An abuser earns forgiveness through atonement. Forgiveness is not the same as absolution.  

DID YOU EAT? (밥 먹었니?), Written and Performed by Zoë Kim*. Photo by Maggie Hall

Kim wishes “For you to practice radical love for yourself and for others.” 

Apropos of nothing and because this is a constructive criticism site, I would be remiss in my duties if I did not mention that the pacing of the first 20 minutes lags. The transition from the show’s bright, children’s theatre beginning into Kim’s life story could use smoothing. Otherwise, the story is seamless from start to finish. From its design elements to the acting, Did You Eat? (밥 먹었니?) is impactful storytelling. 

For the folks who attended Did You Eat? (밥 먹었니?) and felt a kinship with its story, whether big or small, I hope you find the healing and wondrous love you need. 

These are resources available to Boston-area and Boston Chinatown victims and survivors of domestic violence:

  • The Asian Task Force Against Domestic Violence: Hotline at 617-338-2355, https://www.atask.org/
  • SafeLink is Massachusetts’ statewide 24/7 toll-free domestic violence hotline and a resource for anyone affected by domestic or dating violence. 1-877-785-2020
    If you are Deaf or Hard of Hearing (D/HH), please dial 711 – MassRelay Service.
    Advocates are bilingual in English and Spanish and have access to a service that can provide translation in more than 130 languages.
  • The National Domestic Violence Hotline offers assistance and safety planning 24/7.
    1-800-799-SAFE (7233), TTY 1-800-787-3224
    If you’re unable to speak safely, you can chat online at thehotline.org
  • Massachusetts Domestic Violence (Safe Link), 1-877-785-2020, https://casamyrna.org/get-support/safelink/
    If you are Deaf or Hard of Hearing (D/HH), please dial 711 MassRelay Service
  • Massachusetts Office for Victim Assistance (MOVA), 617-586-1340, https://www.mass.gov/orgs/massachusetts-office-for-victim-assistance
  • Mass.gov list of Domestic Violence Services:
    https://www.mass.gov/domestic-violence-services

If you are in immediate danger, call 911.

It may require persistence to get help, but help is out there. Keep seeking it and it will one day find you. 

Nov 27

Plucky Repertory at BPT: “How to Not Save the World with Mr. Bezos” & “Soft Star”

Posted on by

Presented by Boston Playwrights’ Theatre 
Produced in collaboration with the Boston University College of Fine Arts School of Theatre.
BPT’s Fall Rep Festival

How to Not Save the World with Mr. Bezos by Maggie Kearnan
Directed by Taylor Stark
Intimacy and violence choreography by Jess Scout Malone
Special effects by Lynn Wilcott
Featuring: Becca A. Lewis, Mark W. Soucy, Robbie Rodriguez

Soft Star by Tina Esper
Directed by Bridget Kathleen O’Leary
Intimacy & Violence Choreographer: Jess Scout Malone
Featuring: Annika Bolton, Mairéad O’Neill, Jesse Kodama, Kamran Bina

November 7-24, 2024 
Boston Playwrights’ Theatre (now with a water fountain!) 
Kate Snodgrass Stage
949 Commonwealth Avenue
Boston, MA 02215

Critique by Kitty Drexel

BOSTON — Boston Playwrights’ Theatre presents two plays as part of its Fall Rep Festival: How to Not Save the World with Mr. Bezos by Maggie Kearnan, a fictional interview with the nonfictional journalist, and Soft Star, a play about secrets between best friends, by Tina Esper. 

While they are running in repertory with each other, these plays will not be critiqued by the same standards. The scripts are at different levels of development: Bezos is nearly if not fully completed; Soft Star requires some tweaking and that’s okay; that’s why BPT exists.   

This critique discusses both plays in the order I viewed them. Both plays ran through Nov. 24 on different days on the Kate Snodgrass Stage at BPT. Their runs have ended but their legacy will live on.   Continue reading →

Nov 26

Ample Breast, Moist Leg: “The Thanksgiving Play”

Posted on by

The cast; Photo by Sharman Altshuler

Presented by Moonbox Productions
by Larissa FastHorse
Directed by Tara Moses
Dramaturgy by Kailey Bennett

Featuring: Jasmine Goodspeed, Johnny Gordon, Ohad Ashkenazi, Marisa Diamond
Partnered with the North American Indian Center of Boston (NAICOB)

Nov. 21 – Dec. 15, 2024
Arrow Street Arts
2 Arrow St.
Cambridge, MA 02138 

Running Time: 90 minutes, no intermission

Age Guidelines: Recommended for ages 13+

Content Warning: This production contains adult language, mature themes, racism, redface, violence, and unsettling truths of both Massachusetts’ and America’s history.

Critique by Kitty Drexel

CAMBRIDGE, Mass. — Moonbox’s The Thanksgiving Play interprets the white American history of Thanksgiving that MAGA and its ilk want us to forget. Florida’s laws, for example, would keep copies of Larissa Fasthorse’s play out of school libraries just in case a white person might feel sad by its contents. Friends, the purpose of knowing our white, colonialist history isn’t to feel sad; it’s to recognize the white supremacist systems that enabled these atrocities so we can dismantle them. We aren’t responsible for our ancestors’ actions but we are responsible for repairing the damage they caused.   Continue reading →

Nov 26

“Funny, Antiquated Slapstick: Noises Off”

Posted on by

The cast. Photo by Mark S Howard.

Presented by Lyric Stage Boston
By Michael Frayn
Directed by Ilyse Robbins
Sound Design – Andrew Duncan Will
​Scenic Design – Erik D. Diaz
Costume Design –  Seth Bodie
Lighting Design – SeifAllah Salotto-Cristobal
Props Artisan – Emily Allinson
Voice & Dialect Coach  – Allison Beauregard
Fight Consultant – Ted Hewlett
Featuring:  Amy Barker, Grace Experience, Dan Garcia, Eliza Fichter, Michael Jennings Mahoney, Joseph Marrella, Chip Phillips, Samantha Richert, Lewis D. Wheeler

Nov. 15 – December 22, 2024
Lyric Stage Boston
140 Clarendon St.
Boston, MA 02116

Critique by Craig Idlebrook

Two hours and thirty minutes, with two intermissions

Content Advisory: “The shenanigans of Noises Off include a bit of salty language, some sexual situations, and slapstick humor.” – Lyric Stage

BOSTON — Sometimes, reviewers best serve the audience by declaring their biases up front. Usually, those biases are about something we hate, but not always.

In this case, I should warn you that I love Noises Off as a play, and I fully realize I probably love it more than its inherent cultural worth warrants. Like with a close family member, I am inclined to defend it from accusations of its shortcomings more than I should. There is something about the play within a play about the ridiculous backstage antics of a middling theater cast that resonates with me as a high school drama nerd. Continue reading →

Nov 26

A Peek Inside the Funhouse of Our Minds: “Mindplay”

Posted on by

“Mindplay” photo by Chris Ruggiero.

Presented by the Huntington Theatre Company
Created by Vinny DePonto
Written by Vinny DePonto and Josh Koenigsberg
Director – Andrew Neisler
Scenic Design – Sibyl Wickersheimer
Lighting Design – Christopher Bowser
Sound Design – Kathy Ruvuna
Composer – Alex Harris

November 13 – December 1, 2024
Calderwood Pavilion
527 Tremont Street,
Boston, MA 02115

Critique by Craig Idlebrook

1.5 hours with no intermission

May be too intense for younger children

BOSTON — Towards the beginning of the intriguing one-man show Mindplay, mentalist Vinny DePonto was frank with the audience, telling them that the mind was easily manipulatable, and that he was good at doing it. DePonto was true to his word, as he mesmerized the audience with his quiet charm, sharp memory, and his apparent gift to read minds. However, the mentalist later attempted to mix frankness with artifice when he chose to tell his own story with a dazzling stage display as a prop, and this momentarily threatened to break the show’s spell. It may have been his greatest trick to still create a captivating theatrical experience despite this misstep. Continue reading →

Nov 20

Inside and Outside of Time: Hub’s “Tartuffe”

Posted on by

Photo by Benjamin Rose Photography

Presented by Hub Theatre Company of Boston
By Moliere
Translated by Richard Wilbur 
Director – Bryn Boice
Sound Design – Mackenzie Adamick
​Set Design – Justin Lahue
Costume Design –  Marissa Wolf
Lighting Design/ME – Nars Kelliher
Props Designer – Julia Wonkka

Featuring: Steve Auger, Lily Ayotte, Jeremy Beazlie, Patrick Vincent Curran, Lauren Elias, June Kfoury, Brendan O’Neill, Brooks Reeves, Laura Rocklyn, Kayla Sessoms, Robert Thorpe

Nov. 9 – Nov. 24, 2024
Boston Center for the Arts
539 Tremont St
Boston, MA 02116

Critique by Kitty Drexel

Two hours with one intermission
Appropriate for ages 13+

BOSTON — Hub Theatre Company’s Tartuffe is fun. It’s one of the better adaptations of Moliere’s play you’ll see in the next four years. No doubt, we will see quite a few performances of Tartuffe and other satires in the next four+ years. It’s better seeing satiric buffoonery on the stage now rather than the unfunny buffoonery we’ll see play out on the political stage coming this January.  Continue reading →

Nov 19

Frothy, Fun, and Farcical: “Emma”

Posted on by

Lorraine Victoria Kanyike, Fady Demian, Josephine Elwood, and Liza Giangrande in Actors’ Shakespeare Project’s production of Emma. Photo by Nile Scott Studios.

Presented by Actors’ Shakespeare Project
Play by Kate Hamill, based on the novel by Jane Austen
Directed by Regine Vital
Scenic design by Saskia Martínez
Costume design by Nia Safarr Banks
Lighting design by Deb Sullivan
Sound design by Anna Drummond
Dramaturgy by Kristin Leahey
Featuring: Alex Bowden, Fady Demian, Josephine Moshiri Elwood, Liza Giangrande, Jennie Israel, Lorraine Victoria Kanyike, Dev Luthra, Mara Sidmore

Tickets and Information Here
November 14 – December 15
The Multicultural Arts Center
41 Second St., Cambridge, MA 02141

Critique by Maegan Bergeron-Clearwood

CAMBRIDGE, Mass. — The Cambridge Multicultural Arts Center theatre is already ornate, bedecked with colorful railings, intricate carvings, and a soaring ceiling. It is a perfect fit for any Regency-era play, but especially for Actors’ Shakespeare Project’s Emma, which is positively dripping with femininity.

Scenic designer Saskia Martínez has draped virtually every surface with soft florals and pastels, cozying up the otherwise cavernous space and inviting audiences (some of whom are seated onstage with the actors – be prepared for audience participation) to settle in for a spot of tea and gossip. Costume designer Nia Safarr Banks paints with the same aesthetic brush: the dresses, stockings, and hats are varyingly anachronistic, with plenty of nods to modern fashion trends, but everything is pulled together with a palette of watercolor blues, pinks, and yellows. Continue reading →

Nov 13

Tomorrow Belongs to All of Us or None of Us: “Cabaret”

Posted on by


Presented by the Kit Kat Club at the August Wilson Theatre 
Based on the play by John van Druten and stories by Christopher Isherwood
Book by Joe Masteroff
Music by John Kander
Lyrics by Fred Ebb
Directed by Rebecca Frecknall
Fight direction by Thomas Schall
Music direction by Meghann Zervoulis Bate
Choreographed by Julia Cheng

Tickets are available now – March 2025
August Wilson Theatre
245 W. 52nd St.
New York, NY

2 hours and 45 minutes, including one intermission

Critique by Kitty Drexel

I was offered press tickets to “Cabaret” as part of the ATCA conference in New York.

NEW YORK — “I’ll be watching ‘Cabaret’ for survival tactics,” my friend Julia said when I confirmed her ticket for “Cabaret at the Kit Kat Club” on November 6. Julia and I are both gleefully queer on the LGBTQIA+ spectrum and terrified by the national and state election results. It was cathartic to watch a musical about the rise and tragic fall of queer culture in Weimar Germany as the Nazis rose to power. It looks a lot like the U.S. today. If one needs proof, they should take to their local news sources. Continue reading →