Category Archives: Comedy

Mar 08

We Would Do Anything for Love, Including That: “Alma”

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Full frontal chancla fight, Karina Beleno Carney and Luz Lopez in “Alma”. Photo: Nile Scott Studios.

Presented by Central Square Theater
Written by Benjamin Benne
Directed by Elena Velasco
Choreography by Angie Jepson
Dialect Coaching by Cristhian Mancinas-García
Community Connectivity Dramaturgy by Zowie Rico
Featuring Karina Beleno Carney (she/ella) and Luz Lopez (she/her)

February 23 to March 26, 2023
Central Square Theater
450 Massachusetts Avenue
Cambridge, MA 
75 minutes with no intermission

Critique by Kitty Drexel

Cambridge, MA — The Oxford English Dictionary says the American Dream is “the ideal that every citizen of the United States should have an equal opportunity to achieve success and prosperity through hard work, determination, and initiative.” Benjamin Benne’s Alma at Central Square Theater is the story of a family that comes to accept that some American dreams are only available to wealthy, white, and documented dreamers.   Continue reading →

Mar 05

Politically Stale Content v. Beautiful Production Work: “The Wife of Willesden”

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Marcus Adolphy, Clare Perkins, George Eggay, Andrew Frame, and the company of “The Wife of Willesden.” Photo: Marc Brenner

A Kiln Theatre Production presented by the American Repertory Theater
Adapted by Zadie Smith, adapted from Chaucer’s “The Wife of Bath”
Direction by Indhu Rubasingham
Composition and sound design by Ben and Max Ringham
Movement Direction by Imogen Knight
Fight Direction by Kev McCurdy
Voice & Dialect Coaching by Hazel Holder

February 25 – March 17
Loeb Drama Center
64 Brattle Street
Cambridge, MA 02138
Tickets and Info

Critique by Maegan Bergeron-Clearwood

Cambridge, MA –Loud, rebellious female characters from classic literature are juicy fodder for feminist reclamation, and understandably so. For women and folks of marginalized gender identities, it’s rare to see ourselves reflected as complex human beings in historical texts, even if most of these surviving texts are by dead white men. Shakespeare, for instance, likely didn’t have radical feminist intentions when he wrote Taming of the Shrew. But, Kate’s story is reshaped and retold again and again and again, problematic parts and all, if only to prove to the world that yes, women like her always existed.

The Wife of Willesden, a Kiln Theatre Production currently running at the A.R.T., strives to continue in this tradition, reexamining with the titular character from Chaucer’s “The Wife of Bath” (a tale from The Canterbury Tales) through a 21st century lens. The text was adapted (or translated, which I would argue is more accurate) by novelist Zadie Smith, with raucous, ensemble-driven direction by Indhu Rubasingham. Continue reading →

Feb 28

Swing and a Miss: “The Great Leap”

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Photo by Mark S Howard.

Presented by Lyric Stage Company of Boston
By Lauren Yee
Directed by Michael Hisamoto
Featuring Barlow Adamson, Jihan Haddad, Gary Thomas Ng, Tyler Simahk
Scenic Design: Baron E. Pugh
Costume Design: Seth Bodie
Lighting Designer: Michael Clark Wonson
Sound Design: Elizabeth Cahill

February 24 – March 19
140 Clarendon St
Boston MA 02116

Critique by Maegan Bergeron-Clearwood

BOSTON, MA — Sports are theatre: bodies are in motion, in the here-and-now of time and space, performing feats of incredible physical achievement, telling riveting stories about power and pathos. Staging sports-themed plays, therefore, offers inherent performative, spectacle-driven potential.

Unfortunately, the Lyric Stage’s production of Lauren Yee’s The Great Leap doesn’t quite tap into. For only having four characters, The Great Leap is a surprisingly busy play, which makes the flatness of the production particularly noticeable: the script is full of entangled plot lines and intersecting themes, often to its detriment. Continue reading →

Feb 20

A Wicked Awesome Tribute: “Make Way For Ducklings: the Musical”

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Presented by Wheelock Family Theatre
In partnership with Adventure Theatre MTC
Book by Sandra Eskin & Michael J. Bobbitt
Music and lyrics by William Yanesh
Adapted from the book by Robert McCloskey
Directed by Emily Ranii
Music directed by Jon Goldberg
Choreographed by Joy Clark 
Artistic Sign Language/ASL Coaching by Kelly Kim

Feb. 17 – March 12, 2023
Wheelock Family Theatre at Boston University
180 Riverway
Boston, MA 02155
Open Captioning provided at all events 
Accessibility Performance Dates: March 5th, 2023 at 2:00 PM and March 11th, 2022 at 2:00

Run Time: 70 minutes with no intermission

Review by Kitty Drexel

Boston, MA —Wheelock Family Theatre’s Make Way For Ducklings: the Musical celebrates all things great about Boston. Sandra Eskin, Michael J. Bobbitt, & William Yanesh’s musical (based on the book by Robert McCloskey) pays loving homage to the many ways our city amazes and confounds tourists, townies, and even the most stalwart of proud New Englanders. This theatrical tribute is intended for families of all ages. It will surely charm the meanest of Boston bruisers so adults without wee ones should feel free to attend but mind their manners when they do.  Continue reading →

Dec 23

One Big Deep Breath. Now: “Chicken & Biscuits”

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Presented by Front Porch Arts Collective
In partnership with Suffolk University
Written by Douglas Lyons
Directed by Lyndsay Allyn Cox
Dramaturgy by Juliette Volpe
Fight/intimacy consultations by Ted Hewlett

Dec. 9, 2022 – Jan. 8, 2023
Modern Theater
525 Washington St.
Boston, MA 02108

Critique by Kitty Drexel

BOSTON, Mass. — For centuries white people told the lie that the white experience is universal. Theatre is about universal stories, we white people said. If a story is truly universal, it can be played by any cast and be seen by anyone, and the intended message will still resonate. 

These days, it’s less about convincing producers that Black people can tell a story; it’s about convincing white people that they’ll appreciate a show created for someone else first, white people last. My fellow white people, if you can love Lizzo, an artist who has said to ETonline she makes music for the Black experience, you can love a play like The Porch’s Chicken & Biscuits. 

In St. Luke’s Church in New Haven, CT, sisters Baneatta Mabry (award-winning Boston actor Jacqui Parker) and Beverly Jenkins (Thomika Bridwell) are mourning the death of their father Bernard Jenkins. Reginald Mabry (Robert Cornelius) is leading the service for Bernard while being a supportive husband to Baneatta but the drama is flying too high for Reginald to catch up.  Continue reading →

Dec 20

She Sets Fire to the Smell of Lemons: “OTP” at BPT

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Blanca Isabella, Hampton Richards; Photo by Stratton McCrady.

Presented by Boston Playwrights’ Theatre and the Boston University New Play Initiative
Written by Elise Wien
Directed by Enzo Gonzales
Cultural consultant: Ciera-Sadé Wade
Intimacy coaching by Jess Scout Malone
Featuring: Hampton Richards, Blanca Isabella, Diego Cintròn, Dom Carter

December 8-18, 2022
Boston Playwrights’ Theatre
949 Commonwealth Ave.
Boston, MA 02215

Content Advisory: This play contains mentions of suicide and depictions of self-harm.

Review by Kitty Drexel

BOSTON, Mass — OTP is the acronym for One True Pairing, which identifies a person’s favorite fictional romantic relationship. In Wien’s OTP, now closed, best friends Michelle (Hampton Richards) and Ceci (Blanca Isabella) are co-writing a submission to Madame Tussaud’s “Melt Your Heart Out” fanfiction contest. 

Their fanfic features a teenage President Barack Obama (Diego Cintròn doing good accent work). Obama is the leader of the free world during the day and immortal stealer of hearts by night. Suspend your disbelief. OTP is worth it. 

All is well until their lives outside the fanfiction writing intrude on their work: Michelle is running for JSA President! Ceci is writing solo fanfic! Both girls learn that there is more to friendship than convenience and (relation)shipping the same world leader. Dom Carter stars as an uncannily familiar politician with amnesia whom Ceci must rescue from mutant foxes in apocalyptic Illinois.  Continue reading →

Oct 11

Dank Memes for Forest Teens: “Eat Your Young”

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Maez Gordon, Abacus Dean-Polacheck, Charlotte Stowe, Sunny Feldman; Photo by Hilary Scott Photography.

Presented by Boston Playwrights’ Theatre the Boston University College of Fine Arts School of Theatre
By J.C. Pankratz
Directed by Shamus
Fight and intimacy direction by Yo-El Cassell

Oct. 6 – 16, 2022
PRIDE NIGHT: Friday, October 14 at 8 p.m.
Boston Playwrights’ Theatre
949 Commonwealth Ave.
Boston, MA 02215

A strobe light effect is used during the performance.

Content warnings: Substance abuse disorders, drug use, self-harm, body dysmorphia, disordered eating, fatphobia, violence, and occasional misgendering. Find resources here.

Critique by Kitty Drexel

BOSTON — I fully support content warnings. Content warnings enable survivors to make better choices for their needs. Content warnings are a sign of an empathetic and understanding theatre company. Sometimes even a survivor won’t know when they will be triggered. It is better to err on the side of compassion than to abstain.  

Horror theatre can tell important stories, but often it is an excuse to disgust an audience with cool theatre tricks and fake blood. Eat Your Young is a hard departure from torture porn (or torture fanfiction, as is the case for much of theatre), and I am glad to see it, but it was not the show I was expecting from the content warnings or the summary on the BPT website. 

Content warnings are an imperfect, relatively new practice. Eat Your Young contains elements of traditional psychological horror, but it is largely a comedy. The content warnings lead me to expect jump scares, even physical torture. I was surprised when neither happened. 

Lucia (Abacus Dean-Polacheck), Jelly (Charlotte Stowe), Ginger (Sunny Feldman), and Quinn (Maez Gordon) are four mismatched teens enrolled in an abusive emotional growth school disguised as the wilderness survival program. The teens are abandoned in the forest without resources except for their water bottles, a baggie of tampons, and their sociopathic counselors Marty (Ross Beschler) and Marty B (Jay Eddy).  Continue reading →

Oct 04

Hurt Me, Daddy: “Dracula: A Feminist Revenge Fantasy, Really”

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Sara Jones plays Renfield (left); shown with Maria Hendricks as Dr. Van Helsing (middle) and Lisa San Pascual as Mina Harker (right). Photo by Gillian Mariner Gordon.

Presented by The Umbrella Stage Company 
Based on the novel by Bram Stoker
By Kate Hamill
Directed by Michelle Aguillon
Original Music Compositions by Valerie Forgione
Intimacy Direction by Kayleigh Kane 
Fight Direction by Sarah Flanagan

Sept. 30 – Oct. 23, 2022
The Umbrella Arts Center
40 Stow Street
Concord, MA 01742

Critique by Kitty Drexel

CONTENT WARNINGS: This play contains sexual situations, violence, and death by suicide. It may not be appropriate for persons under 16 years old.

This production uses strobe light effects and fog effects.

CONCORD, Mass. — Do heteros know they’re supposed to like their partners? Dracula: A Feminist Revenge Fantasy, Really is yet another retelling of a classic gothic romance novel in which men treat their female partners terribly; their behavior is belittling, lacks respect, and reeks of contempt. It’s no wonder playwright Kate Hamill rewrote it with a snappy, violent finale. 

Dracula: A Feminist Revenge Fantasy, Really spins the novel by Bram Stoker for a modern audience of thinking minds. Mina Harker (Lisa San Pascual) expects a baby any day now, but her husband Jonathan (Joseph Jude) must assist Count Dracula (Dustin Teuber) with land acquisition. Mina’s best friend Lucy Westenra (Gabrielle Hatcher) can’t contain her glee at marrying Dr. George Seward (Dominic Carter) but fears she must for George’s sake.

Renfield (Sara Jones) can’t remember what happened to her husband. Drusilla (Emily Sheeran) and Marilla (Bowen Huang) hunger. Dracula: A Feminist Revenge Fantasy, Really is not told in letters, thankfully. Continue reading →

Sep 27

From the Back to the Middle and Round Again: “Fabulation or, The Re-Education of Undine”

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Lyndsay Allyn Cox as Undine. Photo by Mark S Howard.

Presented by the Lyric Stage Company of Boston
Written by Lynn Nottage
Directed by Dawn M. Simmons
Intimacy consultant: Ted Hewlett
COVID-19 safety officer: Emily Collins
Online Playbill

Sept. 16 – Oct. 9, 2022
140 Clarendon St
2nd Floor
Boston, MA 02116

Approximately 2 hours, including one 15-minute intermission.

Review by Kitty Drexel

“In literary criticism, the term fabulation was popularized by Robert Scholes, in his book The Fabulators, to describe the large and growing class of mostly 20th century novels that are in a style similar to magical realism, and do not fit into the traditional categories of realism or romance.”

BOSTON — An undine (or Ondine) is a mythological water elemental out of the European tradition. The Swiss alchemist Paracelsus wrote of a nymph who became human out of love for a mortal man. Without love, she has no soul and cannot live on land. Undine must take care for she will die if her lover is unfaithful. 

An undine stands as a modern metaphor for the woman who cannot let go of love. Her relationship is over, her lover moved on, but the undine will not move on. There’s the possibility of a happy ending though – Undine can go home if she kills her boyfriend before he cheats. 

Fabulation or, The Re-Education of Undine puts Undine (Lyndsay Allyn Cox) at the top of her game. She has everything: a wildly successful boutique PR firm in Manhattan, a handsome husband Hervé (Jaime José Hernández) with a fancy accent to match his l’accent aigu, a devoted assistant (Brittani Jenese McBride), a full bank account, a bougie accountant (Barlow Adamson), and more social currency than Wendy Williams. Or, she does until Hervé disappears with his clothing and every last penny she has. And, she’s reluctantly pregnant.  Continue reading →

Sep 23

True Silence is the Rest of the Mind: “Vanya and Sonia and Masha and Spike”

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Presented by Titanic Theatre Company
Written by ​Christopher Durang
Directed by Darren Evans
Featuring Shelley Brown, Alisha Jansky, Scot Colford, Eric McGowan, Will Shapiro, and Julia Hertzberg

September 21-October 8, 2022
BCA Plaza Black Box Theater
Boston, MA

Review by Kitty Drexel

“Resumé”by Dorothy Parker
Razors pain you;
Rivers are damp;
Acids stain you;
And drugs cause cramp.
Guns aren’t lawful;
Nooses give;
Gas smells awful;
You might as well live.

BOSTON — Titanic Theatre Company’s Vanya and Sonia and Masha and Spike is the most intimate version you will ever see. The cast (and their melodramatic breakdowns) places the fourth wall practically on our laps. An audience has no choice but be sympathetic to a cast delivering breakdown after melodramatic breakdown within a short range.  

Durang’s comedy is an offshoot of Anton Checkhov’s most famous plays, but it isn’t a parody.  Vanya (Scot Colford), Sonia (Shelley Brown), and Masha (Alisha Jansky) are brother and sisters reunited to attend a costume party at the Dorothy Parker house up the street in Bucks County, Pennsylvania. To the dismay of Vanya and Sonia, Masha has brought flavor of the week Spike (Eric McGowan) with her from New York City. Spike has found Nina (Julia Hertzberg fresh, sweet and effervescent as strawberry soda) at the pond. No one gets along until they almost do. Cassandra (Will Shapiro) hopes they can read the omens before it’s too late.    Continue reading →