(Cambridge, MA) As You Like It is a long-time favorite of audiences despite its often lowly standing among critics. The play deliberately borders on the nonsensical, as Shakespeare takes us on a glorious gender swapping romp through the mystical forests of Arden. This latest production from Harvard’s Hyperion Shakespeare Company successfully captures the intensity of first loves and the youthful energy at the heart of the piece. Whilst the direction felt a bit haphazard in places, the talent of some of the cast members helped to carry the show and pay tribute to the richness of Shakespeare’s script. As You Like It is a good choice for a student production of Shakespeare, the obvious enthusiasm of the actors (and their friends in the audience) made this production a pleasure to watch. Continue reading →
(Lowell, MA) As a father of an adopted child, I often wonder how I will guide my son through the emotional stages of thinking about his origin story. I picture many long, earnest, possibly tear-filled conversations that will be good for us to go through, but certainly not entertaining. In Little Orphan Danny, wiseass rock singer Dan Finnerty decided to tell his own story of adoption, and it’s indeed a tearjerker of a musical. My eyes were wet and my ribs were sore from laughing so hard. Continue reading →
(Boston, Massachusetts)I assume that unlike many in the audience at the Wimberly Theatre, I went to the Calderwood Pavilion knowing nothing substantial about Cabaret and naïvely expecting lots of eye-high rockette dance moves. Seated with friends before the show, I opened up a program and encountered a quote by Christopher Isherwood, the British-American novelist who holds a principal place within my private imaginative world. This quotation was from Isherwood’s Goodbye to Berlin, upon which Cabaret is based, and it goes “I am a camera with its shutter open, quite passive, recording, not thinking. Recording the man shaving at the window opposite and the woman in the kimono washing her hair. Someday, all this will have to be developed, carefully printed, fixed.” Continue reading →
(Boston, MA) Many an opera is devoted to women’s pre and post connubial anxieties. With all of the riches for women, one must ask where are the men? In Miss Havisham’s Wedding Night Dickens’ spinster is an anti-heroine reliving a decades old tragedy. In The Beautiful Bridegroom, a Lady, her daughters and maid all wish for wedded bliss. If weddings are such fun, there should be operas from the giddy perspective of tenors in tuxes and basses in vestments. A person is supposed to like the person they marry. For all its progress, opera has further to go.
ONE WEEK LEFT: March 26th @ 7:30pm; March 29th @ 8pm; March 30th @ 8pm; March 31st @ 8pm The Black Box at the Mosesian Center for the Arts, 321 Arsenal St., Watertown, Massachusetts 02472 From the MBTA — take the Red Line to Central Square in Cambridge; then take the 70 or the 70A bus.
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Review by Bishop C. Knight
(Watertown, MA) I could provide an enthusiastic review for every aspect of this play. I will start with a nod to costuming.Continue reading →
(Lowell, MA) A one-person play is like a long blind date – you are stuck with a stranger for the evening, so you inwardly pray beforehand that you’ll like them. But when that one person is actress Charissa Bertels performing her passion project, My 80-Year-Old Boyfriend, you might find yourself cursing time for flying so fast through an entertaining evening. Continue reading →
Presented by Open Theatre Project Created by Lynda Backman, Molly Gilbert, Zahra A. Belyea, Sarah Jacobs, Rosie Mcinnes, Robin Abrahams, Hal Halper, J. Deschene, Lydia Jane Graeff, Athena-Gwendolyn Baptiste Directed by Lynda Bachman and Molly Gilbert
(Jamaica Plain, MA) OTP’s Fear Project tells human stories of insecurity and fragility. It is comprised in two halves of short vignettes strung to make a unified narrative. They slowly reveal the interconnected fears of an estranged brother and sister struggling to maintain their family ties. They suffer their secrets alone even as they project the same fears.Continue reading →
Sam Terry, Eric McGowan, Margaret McFadden and Alexander Rankine in “The Resemblance Between a Violin Case and a Coffin” by Beth Henley. Photo by Richard Hall/Silverline Images.
Presented by Zeitgeist Stage Company
Adapted from the short stories of Tennessee Williams
Written by Elizabeth Egloff, Marcus Gardely, Rebecca Gilman, David Grimm, John Guare and Beth Henley.
Directed by David Miller
(Boston, MA) Desire is a haunting collection of six short stories adapted into one act plays, performed by the talented Zeitgeist Stage Company at the Boston Center for the Arts. This ensemble performance casts a spell over the audience, as we watch a symphony of tortured souls battling with their secret desires. A couple of the plays’ attempt to modernize Williams’ fiction falls short, but overall the cast perform these conflicted characters with real empathy and vigour. Desire provides a fascinating insight into the creative process of a literary master and is well worth a watch. Continue reading →
“The raven himself is hoarse That croaks the fatal entrance of Duncan Under my battlements.” – Lady Macbeth, Mackers, Shakespeare
(Boston, MA) Baby Boomers have ruined the economy for millennials. My own well-intentioned parents asked me when I’m going to buy a house. My wife and I could only laugh. Then we cried. We cried a lot. It’s not going to happen. We have too much student loan debt. Houses in Somerville are no longer things the middle-class can afford. Continue reading →
Presented by Exiled Theatre
By Jean-Paul Sartre
Adapted from the French by Paul Bowles
Directed by Katharine Jordan
April 14-30, 2017
Auspicious Phoenix: The Space Studio
438 Somerville Ave
Somerville, MA 02143
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Review by Travis Manni
(Somerville, MA) Walking past the Somerville Market Basket, down an alley to the right, I was unsure what to expect from Exiled Theatre’s production of Jean-Paul Sartre’s No Exit. To help set the mood, audience members were directed to “descend into Hell” (aka down a flight of stairs) into a basement space. Bulbs hung from the ceiling, and a modest but tasteful array of couches donned the scene—some were for the actors, some acted as seats for the audience. There was a great amount of effort to prepare the audience for what they were about to witness, and its effect made for a great welcoming. Continue reading →