(Boston, MA) The Zoo Story is an uncomfortable story of a stranger in Central Park finding an audience. Peter (Rob Gustison) plays the hesitant witness to the yarns Jerry (Devon Scalisi, also the director) spins about his life. Continue reading →
Becky Webber as Rosalind Franklin and Nick Sulfaro as Ray Gosling in Photograph 51 performing through March 18 at Central Square Theater, 450 Massachusetts Avenue, Cambridge, MA. Presented by The Nora Theatre Company. Photo: A.R. Sinclair Photography
(Cambridge, MA) Photograph 51 chronicles Rosalind Franklin’s work, which leads to the discovery of the double helix structure of DNA. Surrounded by men, Franklin does not have a chance for her voice to be heard amongst her male colleagues. Nora Theatre Company’s production presents a truthful historical presentation of the discovery. Continue reading →
(Boston, MA) Life is messy. A photographer snaps a photo to capture life’s horrors; a writer gives voice to life’s suffering. Life goes on being messy.
The Lyric Stage production of Time Stands Still rolls out like the forgotten final reel of an action film, bravely examining how souls go on once the shooting has stopped. But while the plot centers on how a war-zone writer and photographer cope after the adrenaline wears off from a near-death experience, the play also illuminates how human relationships rarely are easy, even in uninterrupted peace. Continue reading →
Robert Adelman Hancock & Megan McGinnis, photo by Meghan Moore
Daddy Long Legs, Music and Lyrics by Paul Gordon, Book by John Caird, Based on the novel by Jean Webster, Merrimack Repertory Theatre, 2/9/12-3/4/12
Reviewed by Anthony Geehan
(Lowell, MA) The concept of love at first sight is something that has been around in theater and literature since the times of ancient mythology. There is another and more complicated hook for a love story however, in which two people fall in love without ever seeing each other. Such pieces as Mask, Sleepless in Seattle, and Parfumerie have taken on the concept that love can spark purely on personality and intrigue without any physical attributes taken into account. So it is with the musical Daddy Long Legs, a new performance being hosted by The Merrimack Repertory Theatre based off the book by John Caird. Continue reading →
(L to R) Trinity Rep resident company members Stephen Thorne, Rachael Warren and Brown/Trinity Rep MFA actor Mary C. Davis in The Merchant of Venice at Trinity Rep. A bold new setting brings to light the timelessness of Shakespeare’s controversial play. Directed by Artistic Director Curt Columbus, the show runs through March 11 in the Chace Theater. Set Design by Eugene Lee, Costume Design by Olivera Gajic, Lighting Design by Keith Parham. Photo by: Mark Turek.
(Providence, RI) . The Merchant of Venice is one of Shakespeare’s most difficult plays but also one of his most satisfying. Shakespeare’s play examines the intricacies of love, loyalty, and ethics among the citizens of Venice. Trinity Rep’s current production provides a clear straightforward rendition of the tale. Continue reading →
(Cambridge, MA) No one who watches Court TV or Law and Order can deny the pull of a good crime drama. Even those who pretend to be indifferent or opposed to crime drama cannot help being drawn in (and for those who are still pretending that they don’t care, wasn’t that you who tweeted about the Casey Anthony trial all of those times?). What may surprise audiences of Medea is that society hasn’t changed much in 4000 years. Actors’ Shakespeare Project brings to life a Greek drama that examines the dark impulses and desires that haunt not only the “cultured” audiences from Greece’s Golden Age, but also the dark realities of our own society.
Before the play even starts, the audience is surrounded by an air of mystery and foreboding. Continue reading →
(Boston, MA) In the tradition of screwball comedies, a relatable everyman is the victim of seemingly normal circumstances that escalate until someone’s handcuffed to a bed and there are Molotov cocktails in the freezer. Well, maybe that’s not most screwball comedies, but the trajectory of Election Day is certainly familiar. Continue reading →
(Boston, MA) A play rarely works when the actors have to emotionally sprint throughout all acts. A cast needs to pick its moments to ratchet up the tension and raise the stakes, or risk numbing the audience with melodrama. Unfortunately, the Boston University production Monster begins at a precipice of volume and angst and never can climb down to connect with theatregoers. Instead of communion, the production comes closer to an assault.
Monster is an ambitious staging of Mary Shelley’s Frankenstein. At its best, the tale can be a window into the theme of the messy pain of creation and abandonment from God and/or our parents. Continue reading →