May 20 – May 25, 2018 The Oberon 2 Arrow Street Cambridge, MA The Slaughterhouse Society on Facebook
Review by Gillian Daniels
CONTENT WARNING: Psychosexual camp with some abuse and violence for good measure.
(Cambridge, MA) Maybe it’s the number of expertly dressed femme fatales and smart suited gentleman villains in the rogue gallery. Maybe it’s just the spandex. All the same, Batman’s unique blended history of pulp, humor, and darkness puts it at the same cross-section of camp and psychosexual horror in which Boston’s happily weird burlesque scene specializes. The Slaughterhouse Society makes sure burlesque and Batman are a match made in vaudeville variety show heaven.Continue reading →
(Cambridge, MA) The Harvard College Opera succeeds in creating a production of Die Fledermaus with the boozy haze that one would associate with a show that sings a tribute to champagne, dubbed “the king of wines!” How else would a woman, Rosalinde (Veronica Richer, a marvelous soprano), successfully disguise herself from her husband, Eisenstein (Ethan Craigo), with a flimsy mask? Why else would an innocent man, Alfred (the charming Samuel Rosner), happily go to prison instead of the husband of his beloved? The logic of this operetta is certainly rooted in the logic of being pleasantly drunk. It’s only when the show becomes more interested in its sensibility than its story, like someone drinking under the impression he’s far funnier and balanced than he thinks he is, that it begins to wobble.Continue reading →
(Boston, MA) “Dying doesn’t make you wise,” says Melinda Lopez, describing the death of her tough, stubborn mother. “Dying doesn’t make you generous.” The words could serve as the thesis of Mala, a story of a loyal daughter processing guilt and bitterness over the death of her elderly parents. Baked into the subject matter is a grim but gentle humor, one that picks at the coat of polish usually applied to recollections of the grieving process. Lopez’s pain, here, is visceral and true, not some softly lit movie set.Continue reading →
(Cambridge, MA) Communicating the swift wit of a Jane Austen story is sometimes lost in an adaptation of her work. What better metaphor for the pace and quick gossip of polite society than a stage where all the furniture has wheels and actors move across it with the precision of a ballet? Bedlam, in its own words, “creates works of theatre that reinvigorate traditional forms in a flexible, raw space.” This adaptation is as kinetic and flexible as described, but it works best when its uses its techniques to highlight Austen’s source material, not when they try to rely on special effects. Continue reading →
(Roxbury, MA) OUT’hood FEST is a festival designed to by and for the voices and works of local LGBTQ POC. The night I attended was specifically a “taster” of this talent, the culmination of The Theater Offensive’s pilot program, the OUT’hood Residency. This program supports the creation of artwork by, for, and/or about LGBTQ people of color who are local to Boston. If what I saw this year was any indication, this festival will invigorate some of the most versatile artists of the Boston community. Storytellers Eddie Maisonet, Erin Ebony, Danny Harris Sr., Cheyenne Harvey, and J.D. Stokely certainly shined, and I look forward to finding more of their work. Continue reading →
(Boston, MA) Robyn (the confident, hilarious Amie Lytle) has been acting unpredictably since her divorce, alienating her friends of twenty-seven years, the neurotic Trudy (warmly portrayed by Lauren Elias) and sensible Hannah (Christine Dickinson, who delivers a powerful performance). Their friendship is tested as each character redraws their personal boundaries. The actresses hand in fantastic performances, but Robyn is Happy shifts from human melodrama to whacky unreality without pumping the breaks. My problem is largely with finding in what level reality the story is set. Continue reading →
Photo courtesy of imaginary beasts’ Facebook page.
Presented by imaginary beasts
Written by Juli Crocket
Directed by Matthew Woods
Musical Composition by Kangaroo Rat Music (Anna Bell & Tim Desrosiers)
Movement Coaching by Molly Kimmerling and Amy Meyer
(Boston, MA) “No one remembers an Ahab with two legs,” SHE (Raya Malcolm) tells the third member of the Ahab chorus, Danny Mourino, before sweeping him through a door that exudes a blue, haunting light. This disassembled retelling of Moby Dick is similarly haunting, stylish, and similarly full of light, specifically light slapstick, cheerful music, and a cast of tumblers on a colorful, creepy set complete with giant whale ribs. It’s delightful and strange, and I would expect nothing less from imaginary beasts. Continue reading →
(Davis Square, Somerville, MA) The Werewolf fooled me. Genuinely fooled me. I don’t know if that was its intention, but it did. It begins wholly in the realm of operatic convention. Alice (Jeila Irdmusa/Katie O’Reilly) wanders through the dark woods, possibly beset by something terrible. She meets her sisters, played by Nathalie Andrade, Elizabeth Clutts, Brooke Dircks, and Rebecca Wright, and they frolic. Then she encounters a handsome young man (played fantastically by Andy Troska through out the play) and they, well, also frolic, though in a much more suggestive way. Then we jump forward to Alice and her sisters preparing for her wedding, where Bertrand (Nick Stevens) reveals a werewolf (or loup-garou) is on the loose and the charming, flamboyant Vincent (Von Bringhurst/Nora Maynard) is referred to as a man of “unusual tastes,” everyone starts kissing each other, and the ethereal aura of the beginning collapses into a riotous comedy of errors with supernatural elements and a prominent queer subplot. Continue reading →
CONTENT WARNING: Gory, sexy, bloody, violent, and meant to thrill.
(Cambridge, MA) Local comedian and artist Wes Hazzard is the MC and game master for an evening of aerial stunts and scantily clad performances. In between explicit clips from horror films and faux murders, Hazzard charms the audience with jokes and 1990’s references. He, and the ska-rythums of the fantastic Emperor Norton’s Stationary Marching Band, grounds the twisted, dark menagerie in charisma. Continue reading →
(Cambridge, MA) The Ghost Sonata is a fever dream wrapped in layers of turmoil and funny, disturbing absurdity. It’s staged to juxtapose the philosophical musings of a 1907 play on the material evils of the world with the current, oppressive toxicity of the contemporary political climate which social media does a great job of worsening. It’s a beautifully-executed nightmare. Continue reading →