This production originally commissioned and performed in 2013 at the Boston Conservatory Black Box Theatre. GO on Facebook Sparrow Live on Facebook
Critique by Kitty Drexel
“now even the heavens are thankful that because of love i have become the giver of light” – Excerpt from “i was dead” by Mawlānā Jalāl al-Dīn Rūmī, the Sufi mystic and poet.
“And you may ask yourself, ‘How do I work this?’
And you may ask yourself, ‘Where is that large automobile?’
And you may tell yourself, ‘This is not my beautiful house’
And you may tell yourself, ‘This is not my beautiful wife'”
-Excerpted from “Once In A Lifetime” by The Talking Heads
I am instead responding to the watch party held on February 18 on Sparrow Live. Sparrow Live’s About section on its website says, “(Our) mission is to democratize access to the arts by connecting artists with their audiences through high-quality experiences. Sparrow Live’s vision is a barrier-free relationship of equals between artists and audiences.”Continue reading →
Presented by North Shore Music Theatre
Book by Julian Fellows
Original and lyrics by Richard Sherman & Robert Sherman
New materials by Anthony Drewe & George Stiles
Co-created by Cameron Mackintosh
A Musical based on the stories of P.L. Travers & the Walt Disney Film
Directed and choreographed by Kevin P. Hill
Music direction by Milton Granger
(Beverly, MA) It’s hard to tinker with a musical movie that many consider practically perfect in every way, but when there’s money to be made, many a scriptwriter will try. Mary Poppins – The Musical is more successful than most Disney rehashes at adding some new touches to a classic plot and score, even if the finished product feels a bit overlong, and the North Shore Music Theatre production of this spectacle does a solid job staging this spectacle. Continue reading →
Don’t miss Luminarium’s largest production of the season during its two-weekend fall run. The production will take place at the beautiful and historic Multicultural Arts Center (41 Second Street, East Cambridge MA), highlighting the company’s signature imaginative choreography, lighting, and scenic design, while complementing the caliber of its past feature productions Mythos:Pathos (2012) and Secrets & Motion (2013).
What makes Luminarium uniquely dance & theatre?
Luminarium is the first dance company to be invited for, then granted, a Bob Jolly Charitable Trust Award, for its productions’ masterful theatricality in addition to dance. (All previous awards have gone to theatre companies and individuals.)
Luminarium was featured as one of 10 “Unsung Heroes” in the Boston performing arts scene, alongside New Repertory Theatre and Company One, by Improper Bostonian magazine.
Costumes for The Sleeprunner are being created by rising New York costume designer Sueann Leung, whose work was most notably featured in the runway section of the Wall Street Journal.
Luminarium’s The Sleeprunner marks another first for the local dance community as one of the smallest/youngest Boston-based companies to be adopting a theatre performance format, expanding to a two-week run.
Its performers come from an energetically-eclectic background that include a nationally-acclaimed colorguard performer, professional voice actor, internationally-touring classical Indian dancer, tap-dancing winner of the World Cup in Germany, and (just to add to the diversity) even a PhD candidate in Biology who is an aerial circus artist on the side.
The Sleeprunner will be lit and co-choreographed by professional theatre lighting design and choreographer Kim Holman, who does lighting design and choreography for local Boston theatre companies ranging from Babson College to the Boston Public Schools.
(Boston) Difficult issues are difficult to tackle. It seems simplistic to put things this way, but of the theatre I’ve seen which attempts to handle “BIG PROBLEMS”, the vast majority is markedly ineffective.
This comes from a variety of factors: it’s easy to devolve into bad writing habits when you’ve got a hot-button issue on your hands. I wish I could tell you how many times I’ve been bludgeoned with the two-by-four of justice or honestly by a well-meaning playwright who was simply trying to engage with society’s greater schema. Unfortunately, those instances have been so traumatic that I’ve managed to wipe most of them from my memory and replaced them with visions of dancing sugarplums. Continue reading →
(Boston) Romulus Linney’s Appalachian play is a strange, Frankenstein’d animal of a comedy. It combines two stories about marriage and society on Sand Mountain, an Alabama sandstone plateau. The first half, Sand Mountain Matchmaking, is about the unlucky love life of the widow Rebecca Tull (Lauren Elias) as she searches for an appropriate suitor. Act II, Why The Lord Come to Sand Mountain, is a twistier story featuring Jesus (Robert Orzalli) and Saint Peter (Yoni Bronstein) as they spend a night with a backwoods family. Both acts combine to create a folksy, down-home play, one a little too saccharine to feel credible but fun none-the-less. Continue reading →
Photo Credit: AFD’s Facebook page; Cai Radleigh, Shannon Cheong and cast.
Presented by Arlington Friends of the Drama
Music and Lyrics by Laurcen O’Keefe and Neil Benjamin
Book by Heather Hach
Directed by James Tallach
Music Direction by Stephen Peters
Choreography by Theresa Melito
Disclaimer: Queen of the Geeks, Kitty Drexel is involved in this production. The following review takes this into consideration and was written and edited accordingly.
Review by Danielle Rosvally
(Arlington) Adaptation is an odd and fickle creature. In the rash of non-musical-movie to Broadway adaptations that have hit the theatre scene over the course of the last five or ten years, we’ve seen everything from Julie Taymore’s travesty (Spiderman: Turn off the Dark), to the possibly better-than-its-source Spamalot.
Legally Blonde is one that has a soft spot in my heart simply because Reese Witherspoon in her dayglow-pink skirted suits has always been something of an inspiration to me. Here’s a woman who’s hot, smart, and makes both work for her in her own way without conforming to society’s boxes. Legally Blonde was also the first film in my conscious memory that showed me a “popular girl” with a heart of gold. Elle Woods has never stood for changing people (unlike her predecessor Cher Horowitz), but rather helping the women around her see value in what they are. Really; who couldn’t use a little bend and snap now and again? Continue reading →
(Boston) Though remembered largely as a cheerful, life-affirming tale about learning to embrace kindness, A Christmas Carol is, really, a ghost story. Ebenezer Scrooge (Kevin B. McGlynn) contemplates loneliness and the end of his life as he’s visited by spirits that embody his past, present, and future. Anthem Theatre Company gives us a stripped down Victorian play, a musical with literal Christmas carols to color a melancholy London and the workhouse realities of its Industrial Revolution. Continue reading →
(Lowell) Nelson Mandela once said, “There is no passion to be found playing small – in settling for a life that is less than the one you are capable of living.” Yet many of us cling onto being small all our lives. Doing a play about that intentional smallness can be tricky without having the play succumb to smallness itself. Continue reading →
(Boston) Film, literature and theater are filled with midlife crises. The plotlines for men offer them the chance to break away from office meetings and drudgery to lead a life of adventure and get the girl (The Secret Life of Walter Mitty). For women, the midlife crisis plotline offers a chance to break free from the ties that bind, to take a vacation from a family, and to have some great sex (The Bridges of Madison County). Too often, things either resolve too well or too tragically, but always too neatly. The explosion. The choice. The last goodbye. Fade out. Continue reading →
This production is intended for a mature audience only (18+). It depicts (albeit with great humor and entertainment value) graphic sexual acts and adult material. The following review is written for the same audience; please proceed accordingly and stop reading if you believe you may be offended by nudity, sexual content, and/or anything that calls itself “The Slutcracker”.
Photo care of the Slutcracker facebook page.
Directed and adapted by Vanessa White
Music by Pyotr Ilyich Tchaikovsky
November 30th – December 31st, 2013
55 Davis Square
The Slutcracker on Facebook
(Somerville)Every year for the holiday season, the Babes in Boinkland take the good denizens of the Boston burlesque scene on a journey of fantastical fornication, sensational shtuping, and beautiful buggering. This year, of course, is no exception. If you appreciate the human form, are a fan of high ballet, and/or have a sense of humor about sexuality, why are you even questioning if you should see this show? Go buy a ticket, and come, come, come to Somerville for a Christmas treat with more dick than Dickens. Continue reading →