Disclaimer: I auditioned for this production, and was not cast. It is my opinion that only a jackass would allow rejection, a natural process of auditioning, to taint their review.
(Boston, MA) Playwright Marge Buckley has a unique aptitude to balance quirky comedy with human truths. Her science fiction play The Earth Room merges family dynamics with interplanetary conquest with urban planning. It all bounces off the larger issue of mental health avoidance. Human beings may colonize Mars; they may even invent the holodeck, but they will still be inherently guided by human nature. Continue reading →
Presented by Huntington Theatre Company in a co-production with Center Theatre Group By Paula Vogel Directed by Rebecca Taichman Choreography by David Dorfman Fight direction by Rick Sordelet Compositions by Lisa Gutkin and Aaron Halva
“Heterosexuality is not normal, it’s just common.” – Dorothy Parker
(Boston, MA) God is a terrible excuse to hurt another person. Yet, religion has been used since time immemorial to justify slavery, mass murder, and other cruelties. Paula Vogel’s Indecent is testimony to the historical squashing of nonheterosexual relationships for the greater good. It is reprehensibly incomprehensible that our love is still considered so immoral that heterosexual society vainly dooms LGBTQ+ individuals to irreparable harm in God’s name. Religion didn’t fail the LGBTQ+ community. Humanity failed. Continue reading →
Presented by ArtsEmerson Created by Marc Bamuthi Joseph/The Living Word Project Performed by The Living Word Project Choreography by Stacey Printz Composed by Tommy Shepherd Directed by Michael John Garcés
(Boston, MA) Arts Emerson is presenting what could be the last five performances of /peh-LO-tah/ in its current incarnation this week. After years of performances, the exploration of futbol and America which fuses dance, spoken word, song, and projected video into a semi-cohesive whole ends its tour. A Black American Man tells his life story through his love affairs with the game. His expanding awareness of the world fills the space as he tells his tale. Soccer fans may also engage with spoken word and musical interludes featuring other ensemble members.Continue reading →
(Boston, MA) American Moor is a masterpiece of a one-man show. Written and performed by accomplished actor Keith Hamilton Cobb, the 90 minute monologue portrays the interior narrative of an overqualified black actor as he goes through yet another disheartening audition to play Shakespeare’s Othello for yet another clueless white Director (Josh Tyson). The descriptive prowess of Cobb’s blow-by-blow detail plays out like The Old Man and the Sea. His impressive acting chops create some of the most intense, emotionally raw, and true to life moments I’ve ever seen on any stage, including The Globe Theater in London. Continue reading →
Trigger warnings: gunshot sound effect, screaming, domestic violence, mentions of suicide, historically accurate newsreel depicting survivors fleeing danger, cop violence
(Boston, MA) This month marks the 20 year anniversary of the Columbine High School massacre. I remember watching it on TV with my brothers before, realizing there was nothing I could do, going to work out. I just knew that my thoughts and prayers would bolster the victims through those hard times.
I was 18 and naively trusted our government to prevent this tragedy from ever repeating. Unfortunately, as the students of Parkland, Virginia Tech, Sandyhook and others attest, the US Govt. has failed its citizens. It can’t even pass moderate gun control measures. Theatre such as Zeitgeist’s Trigger Warning will continue to be necessary until our money-grubbing politicians can wean themselves of the NRA’s violence-hemorrhaging teets. Continue reading →
Photo by David Costa; L/R: Allan Mayo (Greg) and Shana Dirik (Sylvia)
Presented by Theater UnCorked Directed by Michelle M. Aguillon Written by A.R. Gurney
April 18-21, 2019 Calderwood Pavilion 539 Tremont Street Boston, MA 02116 Theater UnCorked on Facebook
Review by Gillian Daniels
(Boston, MA) You need to know that I really love dogs. I watch videos on YouTube of dogs playing, ashamed of chewing through things, and mindlessly devoted to various owners as they try to follow them to work. But in watching Sylvia, I couldn’t make space in my heart for it the way I have done for pitbulls, goldens, and mutts. The story is just that the dog’s played by a lady (Shana Dirk) and the man who adopts her, Greg (Allan Mayo, who has a gentle, nervous presence), adores her while the put-upon, uptight wife, Kate (the formidable Kim McClure), is jealous. Repeat joke until end of play. Curtain. And folks who want just that out of their theater experience will be satisfied. Continue reading →
(Boston, MA) It isn’t true that money can’t buy happiness. Science, as dressed in commercially digestible articles from Time or Entrepreneur, told us in 2017 that happiness begins at an income that covers payment of non-negotiable needs such as food, rent, and other expenses. That amount was approximated between $50,000 – $75,000. Anything less or more than fiscal solvency lowers our quality of life. Minimum wage is still $7.25. And the 1% wonder why the 99% are angry all the time.
Caroline or Change is about a poor, Black woman raising four kids on her own in 1963 at the peak of the Civil Rights movement in Louisiana. She’s a maid in the Gellman household where she makes $30 a week (roughly $250/week in 2019) and it’s not enough. Caroline Thibodeaux (Yewande Odetoyinbo) isn’t paid enough to deal with any of the nonsense like throws at her but she does it anyway. Continue reading →
Presented by Hub Theatre Company of Boston By Helen Edmundson Directed by Daniel Bourque Assistant direction and dramaturgy by Isabel Dollar Dialect coaching by Meredith Gosselin Fight direction by Samantha Richert
(Boston, MA) The Clearing is about white on white ethnic cleansing. It is 1652 and Cromwell is rabid for Catholic land and English Royalist lives. His Parliament passed the Act for the Settlement of Ireland and sentenced them to lives in Connaught, deportation to Barbados, or to death. It wasn’t very pleasant for anyone except Cromwell’s cronies. Hub Theatre’s production isn’t a hopeful production (the colonizers win) but it tells a necessary story. Continue reading →
Presented by Original Gravity Concert Series Music & Libretto by Kate Soper Performed by Equilibrium Soprano: Stephanie Lamprea, Violin & Acting Music Director: Nicole Parks Flute: Orlando Cela Percussion: Mike Williams
(Brookline, MA)Ipsa Dixit is Art with a capital, “AH,” an often playful and highly erudite experiment with language and music chiefly meant for people who are already into That Kind of Thing. As a whole, it doesn’t have a clear entrypoint for laymen. This is, at least partially, about the meaning of words vs. the intent of the isolated mind that created them, ie. the vast chasm between expressing something verbally and the isolated brain meat where that verbiage was formed. So yes, it certainly falls into the category of My Thing, with its mosaic of words excerpted from the works of Aristotle, Sophocles, Freud, and Lydia Davis, among others. The music layered on top of these various texts construct an impressionistic portrait of what that language feels like. If you have ever found yourself hungry for a tense drama about a diagrammed sentence, this show is for you. During its two intermissions, there were people who bounced so solidly off the text, they ended up bouncing themselves. Otherwise, others stuck it out for the impressive oddity of Soper’s work as well as the free drinks provided by participating breweries.Continue reading →
(Watertown, MA)Cardboard Piano is a two-part sociopolitical drama. The first act portrays a young love affair between Chris, a missionary’s daughter (Marge Dunn), and Adiel (Rachel Cognata), a Ugandan teenager, and how it was torn apart by senseless homophobia and war violence. The second act sees the daughter return to Uganda 15 years later to find the man who killed her lover (Michael Ofori/Marc Pierre) reviving her father’s church and continuing to oppress his young, queer congregants. Continue reading →