Saturday, Sept. 7, 2019
Doors at 7:30 p.m., Show at 8 p.m. Tickets are $22
Calderwood Pavilion at the BCA
527 Tremont Street
Boston, MA 02116
Featuring the talents of Geeks Diana Lu and Shiyanbade Animashaun!
They’re back again! Mark your calendars for the return of The Intersection. Come to the South End on Saturday, September 7 for a night of comedy!
Come witness the baddest comedians, poets, sketch artists, and improvisers create community on stage while making you laugh! The Intersection is produced by creatives of color from across the Boston area.
Doors open at 7:30 pm. Show at 8:00 pm.
F.U.N. – Fierce Urgency of Now: Energizing Young Professionals of Color to Unlock Boston’s Promise
What is the Fierce Urgency of Now Festival?
A five-day series of events hosted by local businesses and organizations geared at highlighting the experiences, challenges, and opportunities for young professionals of color in our city with the ultimate goal of creating community. With more than 30 events scheduled, you can plan to learn, connect, and have fun all week long, while also lending your voice to change. Join us September 4-8 to help make Boston more inclusive for all.Why are we involved in F.U.N.?
With half of the workforce in Boston being classified as millennials, and nearly half of millennials in Greater Boston being people of color, we know that the business community must play a key role in improving the city’s image and increasing access and opportunities to attract and retain talent. Retention of young people of color is of critical importance to our future as a region.
F.U.N. is for you: young professionals and young professional of color looking to build community and gain allies.
(Boston, MA) Steel Magnolias is a theatre classic. It can be seen in fringe and community productions across the country. The 1989 movie starring Sally Fields and Dolly Parton has firmly cemented itself into the 80’s pop culture. The 2012 TV-movie starring Queen Latifah and, queen in her own right, Phylicia Rashad introduced a new generation to the story. It has survived well because of its timelessness. There will always be a need for safer-spaces where women can be themselves beyond the emotional and physical labors society demands from them. Hub Theatre’s production nestles into that need. Continue reading →
Presented by the Huntington Theatre Company Adapted from the book, The Lightening Thief by Rick Riordan Book by Joe Tracz Music and lyrics by Rob Rokicki Directed by Stephen Brackett Music direction by Wiley DeWeese Choreography by Patrick McCollum Fight direction by Rod Kinter New puppetry design by AchesonWalsh Design Studios
(Boston) Saturday afternoon’s performance of The Lightning Thief: The Percy Jackson Musical was an event for superfans and their friends. Children in Camp Half-Blood t-shirts and their adults congregated to the Huntington Theatre to watch this musical about modern day children of Greek gods. It’s not a production for everyone; it’s specifically written for devotees to the Rick Riordan book. Theatre-lovers will appreciate the ingenuity of the design team but they should attend knowing that this musical isn’t for them; It’s for fans in their childhood years. Continue reading →
(Brookline, Mass.) I Wan Jan is a puppet troupe from Taiwan who presented their debut and only performing show in Boston on July 14th. The troupe was founded by Li Tien-Lu, who named the group “I Wan Jan” (translation: “like natural”) because he believed that a puppet show could be as convincing as any performance by a live actor. The members of the troupe are fourth and third generation descendants of Li Tien-Lu. Continue reading →
(Cambridge, MA) I don’t prefer productions performed out of doors. The novelty has never appealed to me. I’ve only acted in one Shakespeare in the Park production and, while grateful for the experience, I wouldn’t do it agin. Actors must complete with offstage noise, there’s the weather, and, at dusk, there are the MOSQUITOS. Nature in all its splendor cannot compare to the creature comforts offered by the great indoors. That being said, Praxis Stage’s Hamlet is fun.
A summary of Hamlet is provided by Encyclopedia Britanica (contains spoilers). Unlike many, many Hamlets before, Praxis’ interpretation doesn’t paint Hamlet (Eric McGowan) the man as a wounded emo-hero torn apart by his circumstances. Praxis takes a more feminist approach by establishing Hamlet as a man-child culpable for his abusive actions: he’s rash and impulsive; a murderer and a misogynist. Continue reading →
(Watertown, MA) New Repertory Theatre will provide one open captioned performance per each of its six productions during the 2019-2020 season due to a grant from the Theatre Development Fund, said a July 5 press release.
This project is also funded by the National Endowment for the arts, according to the press release. New Rep will offer discounts to those who require open captioned services. Continue reading →
“WARNING! You exhibit symptoms of a glitched ThotBot. An ULTRA Operative has been deployed to reboot your operating system. Avoid contact with other Bots until you have been successfully rebooted.” – ThotBot.me, http://thotbot.me/glitch.html on 6/28/2019.
SOMERVILLE, Mass. — The ThotBot Implantation Center fliers are all over Camberville. An acquaintance assumed they were for a cult. No, they are for Reagan Esther Myer, a one-woman, multimedia, performance art concert about a dystopian future in which The Ultra leads through thought-control and nearly all human brains rely on tech to retain peace of mind. In these days of Texas concentration camps and selling your gold for cash, this science fiction drama isn’t at all far fetched. Continue reading →
Presented by Cirque du Soleil Directed and Created by Daniele Finzi Pasca and Line Tremblay Music Composed and Directed by Jean-Francois Cote, Phillipe LeDuc, and Maria Bonzanigo
June 19th – June 30th, 2019 Agganis Arena 925 Commonwealth Avenue Boston, MA 02215 Corteo on Facebook
Review by Gillian Daniels
(Boston, MA) Mauro, the Dreamer Clown, tells the audience, “I dreamed of my funeral.” Except it’s no dream; this character is actually on his deathbed. A funeral becomes a party and the party becomes a circus. Angels fly on wires above, shoes walk across the stage on their own, and our narrator relives childhood memories while he’s fitted for wings. The somber frame narrative balances the rest of the show, which is cheeky, saccharine, and full of dream imagery that seems to have been cut, raw, from a sleeper’s mind.Continue reading →
(Boston, Mass.) My program calls Masquerade a “verse drama.” That’s about the most pretentious thing I’ve ever seen. Even Shakespeare just wrote “plays.” Other reviewers keep comparing this 19thcentury Russian romantic play to Shakespeare’s Othello. I’m sure writer Mikhail Lermontov filched his basic plot points from The Bard, but the similarities end there. Continue reading →
(Watertown, MA) There is a lot of ambiguity in Aguirre-Sacasa’s King of Shadows. He doesn’t communicate a clear message to his audience. Specifically, he doesn’t clarify what it is he’s trying to say. At no fault of Flat Earth, Hisamoto or the cast, Aguirre-Sacasa implies in only uncertain terms that teen homelessness is bad, rich grad students with savior complexes are ineffective, and fairytales are fun. The details are a mishmash of complications. Flat Earth does a good job with the script, but Aguirre-Sacasa isn’t doing them any favors. Continue reading →