Nov 24

Arabian Nights: Colorful Storytelling

The Ruhk and the Cast in a scene from The Nora Theatre Company and Underground Railway Theater’s production of Arabian Nights running from November 17 – December 31 at Central Square Theater, 450 Massachusetts Avenue, Cambridge, MA. Tickets & Information: 866-811-4111 or CentralSquareTheater.org. Photo: A.R. Sinclair Photography.

Arabian Nights, adapted by Dominic Cooke, The Nora Theatre Company and Underground Railroad Theater at the Central Square Theater,  11/17/11-12/31/11,  http://www.centralsquaretheater.org/season/11-12/arabian-nights.html.

Reviewed by Anthony Geehan

(Cambridge, MA) The ancient civilizations of the Middle East where a progressive and highly advance set of empires and people, making large strides in the studies of mathematics, astronomy, and architecture. Many of these contributions have had a phenomenal affect on the modern world, including their ancient stories that have influenced the structure and tone of a wide range of stories throughout Western civilizations, from King Arthur and the Nights of the Round Table to Loony Tunes. Many of the more influential stories from the area were collected within the famous book 1001 Arabian Nights, a series of tales and legends of ancient Persia, ranging from epic adventure tales to short comedies told around the central focus of a young woman named Scheherazade attempting to quell the rage of a wronged king and save the woman of his kingdom. A selection of these tales, as well as the story of Scheherazade and the king is the focus of The Nora Theatre Company and Underground Railway Theater’s first combined effort Arabian Nights; a grandly staged yet minimal production of classic tales of adventure, morality, and humor. Continue reading

Nov 23

A Confused Classic: A Christmas Carol

Brian McEleney as Ebenezer Scrooge and the cast of the 35th annual production of Dickens' A Christmas Carol, adapted by Adrian Hall and Richard Cumming, directed by Christopher Windom, presented by Cardi’s Furniture with supporting sponsor Amica Insurance. Performances will be November 18 - December 30 in the Chace Theater. Set design: Michael McGarty; Costume Design: William Lane; Lighting Design: John Eckert. Photo by: Mark Turek.

A Christmas Carol, adapted from Charles Dickens’ novel by Adrian Hall and Richard Cumming, original music by Richard Cumming, Trinity Repertory Company, 11/18/11-12/30/11, http://www.trinityrep.com/on_stage/current_season/ACC.php.

Reviewed by Craig Idlebrook

(Providence, RI) At first glance, it seems easy to perform A Christmas Carol; just round up the usual characters from last year and dust off the crutch.  But staging a play that everyone knows can present a challenge because of audience dogma; everyone has an idea of the way the play should go. A director can be ridden out on a rail if s(he) strays too far from the collective idea of the play.

Confronted with such a double-edged sword, directors have two options.  They may either decide to stage the play faithfully, trying to bring out bits of nuance to keep theater-goers and actors from falling asleep, or stage the play in a new way that helps the audience examine why it has become such a cultural icon.  Continue reading

Nov 22

Ain’t Misbehavin’: Tribute to a Lost Harlem

Pictured: Lori Tishfield, Calvin Braxton, Davron S. Monroe, Robin Long, & Lovely Hoffman. Picture by Mark S. Howard

Ain’t Misbehavin’, Music by Thomas “Fats” Waller, Based on an idea by Murray Horwitz and Richard Maltby, Jr., Lyric Stage, 11/17/11-12/17/11,  https://lyricstage.com/main_stage/aint_misbehavin/.

Reviewed by Gillian Daniels

(Boston, MA) With its familiar melodies and disarming 1940’s Harlem charm, Ain’t Misbehavin’ is probably the most energetic musical revue I’ve seen.  Done with precision and love for original composer Thomas “Fats” Waller (here played by Calvin Braxton), the show is a tribute to an era that evaporated long ago.  It replicates the energy of the time as best as it can with vibrant musical numbers and tight choreography. Continue reading

Nov 19

Captors Connects Too Many Dots

Louis Cancelmi and Michael Cristofer in Evan M. Wiener’s CAPTORS. November 11 through December 11 at the BU Theatre. huntingtontheatre.org. Photo: T. Charles Erickson

Captors by Evan M. Wiener, Huntington Theatre Company, 11/11/11-12/11/11,  http://www.huntingtontheatre.org/season/production.aspx?id=10179&src=t.

Reviewed by Craig Idlebrook

(Boston, MA) Writing is as much about what is not said as what is said.  A playwright must learn to leave space for the audience to fill in the blanks.

Every writer at some point succumbs to excessive explanation to make sure everyone gets it.  Continue reading

Nov 19

The Brothers Size and Marcus; Or the Secret of Sweet

James Milord - Oshoosi Size Part 2: The Brothers Size; Photo Credit: Company One

The Brothers Size and Marcus; Or The Secret Of Sweet by Tarrell Alvin McCraney,  Company OnePlaza Theatre at the Boston Center for the Arts, 11/10/11-12/3/11, In repertory with In The Red And Brown Waterhttp://www.companyone.org/Season13/Brother_Sister_Plays/synopsis.shtml.  Contains strong sexual content and some graphic language.

Reviewed by Anthony Geehan

(Boston, MA) It was once said by the great American musician Miles Davis, “it’s not the notes you play; it’s the ones you don’t play.” While he was using the phrase to sum up the art of preforming jazz music, the saying resonates a sort of “less is more” mentality that is palpable to every form of art. From the Hemingway’s seven word classic “Baby Shoes” to sculptor Tony Smith’s famous block works, minimalism can be both a necessity when resources are scarce and an inspiring self-induced boundary to work within. In the world of theatre, its idea has been stretched from one man plays and single set pieces to improvised comedy and flash mob acts. Possibly one of the best examples of minimalism in theater today can be found in Tarell McCraney’s The Brother/Sisters Plays, a trilogy spanning the story of three separate generations living in the bayous of Louisiana, all told with minimal set pieces and eight actors playing characters in three separate moments in time connected through kin. While part one of the trilogy In The Red and Brown Water is a full length play, parts two and three, The Brother Size and Marcus; Or the Secret of Sweet are shorter works, shown in tandem in order to wrap up the series arc. Continue reading

Sep 01

Last Year Boston, This Year New York

Missed some excellent shows in Boston last year?  Head down to New York City!

Meghan McGeary as Hannah. Photo by Marcus Stern.

The Blue Flower, Second Stage Theatre, 305 West 43rd Street, NY, NY. Becca’s review of the show at the American Repertory Theatre.

Sons of the Prophet, Roundabout Theatre Company, Laura Pels Theatre, 111 West 46th Street, NY, NY. Becca’s review of the show at the Huntington Theatre. (Just change “Tony Award” to “Obie”

Dec 14

A Warm, Affirming Life

It’s A Wonderful Life:  A Live Radio Play by Joe Landry, Trinity Repertory Theatre, 12/3/10-1/2/11.

http://www.trinityrep.com/on_stage/current_season/MTM.php

Reviewed by Becca Kidwell

Resident acting company members Stephen Berenson, Anne Scurria, Timothy Crowe, Fred Sullivan Jr. and Angela Brazil in It’s a Wonderful Life: A Live Radio Play adapted by Joe Landry, co-directed by Curt Columbus and Tyler Dobrowsky. Set designs by Michael McGarty, lighting by John Ambrosone, costumes by Alison Walker Carrier. (photo: Mark Turek)

Trinity Rep brings a warm new tradition to its stage.  The endearing story of George Bailey receives new life in this stage adaptation by Joe Landry.  The production does not offer perfection, but it does offer a fun family night out.  Set in a 1940’s radio station, the talented five person cast portrays all of the main characters from the story.

The cast consists of the following acting company members:   Stephen Berenson, Angela Brazil, Timothy Crowe, Anne Scurria, and Fred Sullivan, Jr. who have proven themselves time and again in dozens of Trinity shows.  The play creates a challenge for the actors since the characters are linked with  iconic performances such as:  Jimmy Stewart, Donna Reed, Lionel Barrymore, Thomas Mitchell, and Henry Travers; however, the cast manages to uphold audience expectations while making the roles their own.  Continue reading

Dec 07

End. Begin. End. Begin Again.

Meghan McGeary as Hannah. Photo by Marcus Stern.


The Blue Flower.  Music, Lyrics, Script, and Videography by Jim Bauer; Artwork, Story and Videography by Ruth Bauer.

American Repertory Theatre, 12/1/10-1/8/11.

http://www.americanrepertorytheater.org/events/show/blue-flower

Reviewed by Becca Kidwell

The moment the audience enters the doors (actual scenery), they are invited to join Max Beckmann’s collage of memories.  An accordion player crosses the stage and roams the audience prior to the start of the show.  The stage is in a state of ordered disorder—the perfect working space for creating art.  All of the elements (the music, lighting, acting, scenery, and film) swirl around to form a story of love, loss, sorrow and hope. Continue reading

Nov 30

Love in the Moonlight

(front to back) Anne Gottlieb (Frankie) and Robert Pemberton (Johnny) in FRANKIE AND JOHNNY IN THE CLAIR DE LUNE. Photo by Christopher McKenzie.

Frankie and Johnny in the Clair de Lune by Terrence McNally, New Repertory Theatre, 11/28/10-12/19/10.  Nudity and Mature Themeshttp://newrep.org/frankie_johnny.php

Reviewed by Becca Kidwell

Frankie and Johnny in the Clair de Lune is a difficult play to stage.  The tight, witty, intelligent romance by Terrence McNally requires a comparable production that will not fall flat; New Repertory Theatre’s current production rises to the challenge.

A two-person play needs two strong actors.  Anne Gottlieb and Robert Pemberton deliver beyond expectations.  Not only are they strong individual actors, but they also thrive as a couple.   While Terrence McNally has said that the play is a “romantic fairytale”, the play would not hold an audience’s attention if it was not grounded in genuine, believable characters.  As Robert Pemberton speaks every line, his eyes reveal the sincerity of his heart.  Over the span of one night, Johnny’s profession of love could seem ludicrous, even threatening—except for the fact that this Johnny is truly sincere and truly loves Frankie.  Ann Gottlieb walks the delicate line between being fragile and resilient.  If she does not display strength, the character of Johnny would crush her; at the same time, the character of Frankie has been hurt and the vulnerability still has to be there to create the tension.  As Frankie, Gottlieb has found this balance so that the character can hold her own against Johnny, but still fear the pain of heartbreak.  Gottlieb and Pemberton completely draw the audience in to Frankie and Johnny’s struggle where one can’t help but fight with them for the connection to something that can last.  They ARE Frankie and Johnny—trying to be more than just a couple of “bodies bumping around in the night”. Continue reading

Nov 22

The Religion of Family

Vengeance is the Lord’s by Bob Glaudini, WORLD PREMIERE, Huntington Theatre Company, 11/12/10-12/12/10.  http://www.huntingtontheatre.org/season/production.aspx?id=8511

Larry Pine (Mathew Horvath) and Karl Baker Olsen (Donald Horvath) in Vengeance Is The Lord's, by Bob Glaudini, directed by Peter DuBois. Photo by T Charles Erickson

Reviewed by Becca Kidwell

“Honor thy father and mother” is the first and only commandment in the Horvath family.  In Vengeance Is The Lord’s, the Horvath family sticks together, supports each other—in all endeavors—but to what end?  The play starts out with a normal family Thanksgiving scene; the father starts by telling about his need to turn someone in who stole a car and the mother talks about forgiveness for Myers, their daughter’s killer.  As the story unfolds, however, the veneer is lifted to reveal not only hypocrisy but also an active crime family.  The audience and the youngest son Donny begin to question what justice means and how far love and loyalty should extend within a family.

The set by Eugene Lee provides a “gilded cage” for the Horvaths.  The house looks like any normal suburban household—with one exception—Cheryl’s room.  While it seems like any other bedroom in any other house, this bedroom haunts the Horvath family.  Along with the Horvath family, the audience is constantly reminded of the empty room and Cheryl’s horrific murder as the house spins on a turntable.  The effect of the turntable mirrors the family’s discontent; when they slow down or stop, the family ends up confronting problems that they would rather ignore.   The lighting design by Japhy Weideman, the sound design by Ben Emerson, and the original music by David Van Tieghem add to the tense domestic scene.

The actors form a cohesive family unit.  Roberta Wallach stands firm as the matriarch of the Horvath family, Margaret.  Wallach creates a woman who lives in pain, but who is strong and relatively self-sufficient; however, as the play progresses and the emotional pain becomes too much to bear, the character gives in to the physical operation.  Wallach reveals through this concession that Margaret has deferred some of her resolve to Matthew and Woody. Continue reading