Presented by Hub Theatre Company of Boston Written by Trent England Directed by Daniel Bourque Stage management by Madeline Hartrich and Kelsey Whipple Sound Design by Kyle Lampe Digital Design by Justin Lahue
Feb 20 – Feb 27 2021 Youtube Presentation Boston, MA 02116 Hub on Facebook
Critique by Kitty Drexel
YOUTUBE — Anxiety is a feminist issue. Women are told they are too emotional, too sensitive, and too fragile. Our responses to stimuli are so criticized that we disbelieve our own experiences. We distrust our own instincts – no matter how perceptive.
Believing women is the basis for the #MeToo movement. Trust women, we say. The message should carry a caveat to emphasize that society must grant women the benefit of the doubt in all situations. Believe us when we’ve been assaulted and at other times, too. Believe us all the time.
Hub Theatre premiered Solitaire Suite by Trent England on February 20. Marty Mason is Celeste, a conscientious mother on a car ride with her husband Pete (Cristhian Mancinas) and their son, Tiger (Michael Lin). Celeste tells the viewer about how her family came across an unidentified flying object on their way home from retrieving Tiger from a failed sleepover. The family follows the UFO and has an unexpected engagement with the unknown. 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 →
(Boston, MA) If characters are going to be trapped in a prison, they have to be compelling for the sake of a play. Thankfully, in Hub Theatre Company of Boston’s production of Daniel Bourque’s Coyote on a Fence, all the characters are quite fascinating to watch move around and exist in the world of jail cells. Continue reading →
(Boston, MA) Playwright Joe Orton was an out gay man at a time when it was not only unfashionable but also highly illegal. Orton died in August 1967. Just one month shy of the passing of Britain’s Sexual Offences Act (amendment), which made acts such as kissing, hand holding, or plain old love between two men legal in the privacy of one’s home (it was still illegal to be homosexual in public. Baby stepping progress is still progress). Orton further pushed the hetero-normative envelope by incorporating his penchant for personal freedom in his writings. Orton’s flagrant disdain for authority and hypocritical social ethics are on proud display in Hub Theatre Co’s production of Loot. Orton’s script is not successful as art but it’s message rings profoundly clear: convention can go hang itself. Continue reading →
(Boston) In Hub Theatre’s production of Three Days of Rain, audiences are gently tricked. We are initially introduced to a family melodrama that takes place in 1995. Walker (John Geoffrion) comes to terms with his father’s death in the rundown apartment the man shared with his business partner during the sixties. Stubborn and volatile, Walker doesn’t appear to have a great relationship with his sister, the “sane” Nan (Marty Seeger Mason), who takes him to the reading of their famous architect father’s will. They are joined by the son of his late business partner, Pip (Tim Hoover), a kind but not terribly bright soap opera actor. With the reading of the will, the peace between the three of them deteriorates and their complex bond reforms. So far, this is a story of despair, but it’s also just its maudlin surface. 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 →