Presented by Greater Boston Stage Company
Based on the novel by Louisa May Alcott
Book by Allan Knee
Lyrics by Mindi Dickstein
Music by Jason Howland
Directed & Choreographed by Ilyse Robbins
Music Direction by Matthew Stern
Stoneham, Mass — As producers mine history for intellectual property that can be spun into gold, especially those that are in the public domain, they can sometimes lose sight of what makes a classic a classic.
Unfortunately, this was the case with Little Women: The Broadway Musical. In the original story, Luisa May Alcott created a world full of wonderfully full, relatable characters. She allowed her characters to speak for themselves and trusted her readers to hear the message. I only wish the Greater Boston Stage Company’s production of this play had the space to do the same. Continue reading →
Presented by Open Door Theater Book by Joe Tracz Music & Lyrics by Rob Rokicki Adapted from the book The Lightning Thief by Rick Riordan Directed by Stephanie Henry and Brian Kelly Musical Direction by J. Parker Eldridge
Friday, June 24 at 7:30pm / ASL, open captioning, sensory-friendly Saturday, June 25 at 2:00pm / ASL, open captioning, sensory-friendly Saturday June 25th at 7:30pm / ASL, open captioning, sensory-friendly, audio described Sunday, June 26 at 2:00pm / ASL, open captioning, sensory-friendly, audio described
Interview conducted by Kitty Drexel
ACTON, Mass. — President & Executive Producer Samantha Gould of Open Door Theatre graciously agreed to an email interview ahead of Open Door Theater’s production of The Lightning Thief. This email has been edited lightly for grammar and clarity.
Queen Kitty: For those unfamiliar with Open Door Theater, please introduce yourself and the company to the New England Theatre Geek readership.
Samantha Gould: Open Door Theater is an all volunteer non-profit community theater with a mission of equity and access and inclusion since 1980.
Open Door Theater was awarded the Most Accessible Cultural Organization in the Commonwealth from the Massachusetts Cultural Council Up Initiative in 2019, having been an inaugural UP member in 2015. Each year we try to improve our reach by expanding our inclusive design practices and bettering ourselves. Continue reading →
Presented by Greater Boston Stage Company Co-produced with The Nora at Central Square Theater and The Front Porch Arts Collective
Conceived by Richard Maltby, Jr. & Murray Horwitz
Musical Adaptions, Orchestrations, and Arrangements by Luther Henderson
Directed and Choreographed by Maurice Emmanuel Parent
Co-Choreographed by Ilyse Robbins
Co-Music Direction by Dan Rodriguez and David Freeman Coleman
June 9-26, 2022 Greater Boston Stage Company
395 Main Street
Stoneham, MA 02180
Runtime: 2 hours including intermission
Review by Kitty Drexel
STONEHAM, Mass. — Ain’t Misbehavin’ is a show that builds and builds until the energy and the intensity seem unsustainable. Then it builds some more. The musical opens with the titular song and spans the great career of Thomas Wright “Fats” Waller. There is little dialogue but a lot of impressive dancing.
The red Art Deco set by Jon Savage, Aria Pegg, and Tori Oakes transports the audience to a speakeasy deep in the bowels of New York. The audience is flanked by large-scale landscape murals depicting Black jazz musicians and dancers a la Josephine Baker. The stage extends close to the first row to give the cast plenty of room to stomp, prowl, and wiggle. Café tables are placed on the edges of stage left and right. Continue reading →
Madeleine Barker and Kayla Shimizu in NATASHA, PIERRE & THE GREAT COMET OF 1812 at Wilbury Theatre Group; photo by Erin X. Smithers.
Presented by Wilbury Theatre Group
Book, music, and lyrics by Dave Malloy
Directed by Josh Short
Costume design by Meg Donnelly
Sound and lighting design by Andy Russ
Scenic Design by Keri King, Max Ponticelli, and Monica Shinn
Intimacy Direction by Susie Schutt
Music Supervision by Milly Massey
Choreography by Ali Kenner Brodsky
PROVIDENCE, RI — I woke up this morning to an aching neck and shoulders: a theater hangover. Last night, for two hours straight, I perched on the literal edge of my seat, craning and twisting in all directions, soaking in all there was to see and hear. This morning, I’m reminded, for the first time in well over two years, of how it physically feels to experience a story unfold, not at me, but with me.
To the creative team behind Natasha, Pierre & the Great Comet of 1812 at the Wilbury Theatre Group: thank you for creating something worth straining for. Continue reading →
Presented by ArtsEmerson Created by Toshi Reagon and Bernice Johnson Reagon Co-Directed by Eric Ting & Signe V. Harriday Music and Lyrics by Toshi Reagon and Bernice Johnson Reagon Music Direction by Toshi Reagon Choreography by Millicent Johnnie Movement Director: Yasmine Lee Performed by Marie Tatti Aqeel, Alina Carson, Helga Davis, Kyle Garvin, Jared Wayne Gladly, Toussaint Jeanlouis, Karma Mayet Johnson, Morley Kamen, Alexandra Koi, Josette Newsam, Shelley Nicole, Toshi Reagon, Noah Virgile, Evie Schuckman Orchestra Monique Brooks Roberts, Zach Brown, Bobby Burke, Fred Cash, Jr., Chogyi, Matt Graff Orchestra: Monique Brooks Roberts, Zach Brown, Bobby Burke, Fred Cash, Jr., Chogyi, Matt Graff
April 21 – 24, 2022 Open Captioning: Fri, April 22 @ 8:00 PM American Sign Language: Sun April, 24 @ 2:00 PM Emerson Cutler Majestic Theatre 219 Tremont Street Boston, MA 02116
Recommended for Ages 13+
Running Time: 120 minutes, no intermission
Please Note: Proof of vaccination or a negative test is required for entry
Critique by Kitty Drexel
“All that you touch
You Change.
All that you Change
Changes you.
The only lasting truth
Is Change.
God
Is Change.” Earthseed, Lauren Olamina in The Parable of the Sower
BOSTON, Mass. — The audience was small on Thursday night but grateful. We’d waited over two years to see Toshi Reagon’s Octavia E. Butler’s The Parable of the Sower. The air was palpable with anticipation. We had each other to talk to and other excited conversations to easedrop on. When the theatre held the house lights for an extra 20 minutes to allow late audience members to straggle in, we were okay with it.
When the lights finally dimmed to signal the start of the show, a hush fell over us. Finally, after all this waiting, it was time for church.
Octavia E. Butler’s The Parable of the Sower is an opera adapted by Toshi Reagon and Bernice Johnson Reagon from the Afro-futurist science fiction writer Octavia E. Butler’s novel The Parable of the Sower. The ArtsEmerson website says it is “a genre-defying, modern congregational opera that celebrates two centuries of Black music.” Continue reading →
Presented by Umbrella Stage Adapted by James Magruder Concept and Original Book by James Whitty Music by The Go-Go’s Directed by Brian Boruta Music direction by David Wright Choreography by Lara Finn
April 15 – May 8, 2022 (no performance 4/17) Presented on the Main Stage The Umbrella Arts Center 40 Stow Street Concord, MA 01742
Interview by Kitty Drexel
CONCORD, Mass. — The Umbrella Stage returns to performances this April with Head Over Heels. Brian Boruta generously chatted with me on Friday, March 18 about the musical, gender politics, and The Go Go’s.
This interview is condensed. It has been edited for grammar, congruity, and clarity.
Queen Kitty: It’s awesome that you’re starting with Head Over Heels. Why this show now?
Brian Boruta: It’s funny; I think about this show now, because we had chosen this show earlier than now. Then things all got moved around.
We moved, a couple of years ago, to a committee-based approach to season planning. As we were coming out of the pandemic, it was really important that as many voices and perspectives as possible be included in program planning.
One thing that came to the fore in that conversation was finding ways throughout the season coming out of the pandemic to just celebrate joy in many forms, to celebrate love, to amplify different marginalized voices throughout the season. Head Over Heels really popped out as that title that we could put towards the end of the season that celebrates joy, celebrates love, and celebrates community. Continue reading →
Presented by Guerilla Opera Based on the tale by the Brothers Grimm Composed by Marti Epstein Libretto by Marti Epstein and Greg Smucker Shadow puppetry animation and direction by Deniz Khateri Conducted by Jeffrey Means Featuring the Guerilla Opera Ensemble
ONLINE — On January 7, Guerilla Opera held an online viewing party to premiere their short opera Rumpelstiltskin on Parma Live Stage. Rumpelstiltskin will be presented again at the album’s release party on January 14, 7:30 PM. The album will be available on Navona Records.
Composer Marti Epstein and Guerilla Opera retell the Brothers Grimm Rumpelstiltskin story with some updates for their opera. Rumpelstiltskin (Aliana de la Guardia), a human man with magical abilities, is now portrayed as a sympathetic character according to Epstein’s “Note from the Composer” available on the Navona Records website. The opera explains Rumpelstiltskin’s desire for a child and elaborates on his single-minded obsession with obtaining one: unconditional love. Continue reading →
Georg Friederich Händel’s Messiah Presented by Handel + Haydn Society Performed by Harry Christophers, conductor Carolyn Sampson, soprano Emily Marvosh, contralto* James Way, tenor Roderick Williams, baritone H+H Orchestra and Chorus
BOSTON — We were granted tickets to Handel + Haydn’s Messiah. It was lovely: the orchestra was in good form on their period instruments; the choir sang in four voices with rich purity; the soloists were attuned to the orchestra. It was a nice afternoon at the symphony. Our first since the quarantine.
In the program, H+H included a note: “We regret to announce that countertenor Reginald Mobley has been forced to withdraw from this week’s performances due to illness. We are pleased to announce that contralto Emily Marvosh has graciously agreed to take his place.”Continue reading →
Chelsea, Mass. — TLP’s Sweeney Todd: The Demon Barber of Fleet Street is a forthright production. It takes no risks, but it lacks pretension. The staging is simple but the vocals are strong. The orchestra performs mightily. It is exactly what a good Sweeney Todd should be at a community level. Continue reading →
Steven Cuevas at the piano with Kira Helper, Charlie Thurston, Reggie D. White, and Whitney White in rehearsal for Macbeth In Stride. Photo: Lauren Miller
Presented by American Repertory Theatre Created and performed by Whitney White Orchestrations Steven Cuevas and Whitney White Music Director Steven Cuevas Choreography Raja Feather Kelly Directed by Tyler Dobrowsky and Taibi Magar
October 23 – November 14, 2021 Audio Described Performances: Friday, November 12 at 7:30PM and Saturday, November 13 at 2PM Open Captioned Performances: Thursday, November 11 at 7:30PM and Saturday, November 13 at 2PM Loeb Drama Center Cambridge, MA ART on Facebook
Review by Diana Lu
Macbeth in Stride is a lush pop, rock, gospel, and R&B musical theater event that can only be described as An Experience. It is the first of a five-part series by Obie Award-winning artist Whitney White examining the women of Shakespeare through a black, queer, feminine lens. I’m often skeptical of shows with stated agendas like this, but Macbeth in Stride delivered far more than what was promised, in more ways than I expected.Continue reading →
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