Wellesley, MA — The set for boom is a tank reminiscent of a gallery or museum exhibit, with assorted instruments set to the left. As it starts, Stephanie Clayman’s (“Barbara”) crosses the stage in a jumpsuit and overcoat. Shortly thereafter, Nicholas Yenson ( “Jules”) and Chloe Nosan (“Jo”) robotically take to the stage, arranged as an underground bunker. Continue reading →
Boston, MA — Wolf Play made me so angry I wanted to punch a philosopher. There is so much going wrong in Wolf Play. Good people do not sell or purchase children from the internet. They do immediately contact child services when they discover parents attempting to sell their adopted child. They do contact organizations working on behalf of exploited children. They do not attempt to liberate a child on their own because the US’s messed up legal system thinks that LGBTQ+ adults aren’t fit to raise kids. I know it’s pretend but it’s based on fact. The adults caught up in these actions are telling themselves that they are still good people. They are not. Continue reading →
Presented by Underground Railway Theater
By Kate Hamill
From the novel by William Makepeace Thackeray
Directed by David R. Gammons
Fight coordination by Victor Ventricelli
Dialect coaching by Erika Bailey
Dramaturgy by Hilary Rappaprt
Cambridge, MA — William Makepeace* Thackeray’s Vanity Fair postdates Voltaire’s Candide by almost 100 years. Kate Hamill’s Vanity Fair now at Central Square Theater compares strongly to the famed Bernstein operetta. One could expect the human race to have evolved to squabble over different intersocial problems after nearly a century. One would be wrong. Continue reading →
Boston, MA — When directed to their seats, audience members were asked to stay clear of the stage. Set in-the-round, the four seating sections surrounded a square with an off-center lamp post and brick. Soon the direction became clear as Kadahj Bennett (Moses) and Hubens “Bobby” Cius (Kitch) took to the stage in the pre-show moments, with interactions that foreshadowed the events of the play. Continue reading →
Boston, MA — The opening of The Last Catastrophist coincides with a news update saying that the current president will repeal Obama era environmental protections for streams, wetlands, and groundwater. Repealing these measures is a step backwards from preventing the devastating effects of climate change on US lands. What small matter is clean, public drinking water so long as his precious golf courses are green? One can’t possibly spend one of every five working days golfing on his private business estates without golf courses greener than envy.
Presented by ArtsEmerson Created by Back to Back Theatre, Australia Authored by Michael Chan, Mark Deans, Bruce Gladwin, Simon Laherty, Sarah Mainwaring, Scott Price, Sonia Teuben Directed by Bruce Gladwin Composed by Luke Howard Trio – Daniel Farrugia, Luke Howard, Jonathon Zion Performed by Michael Chan, Simon Laherty, Sarah Mainwaring, Scott Price
Boston, MA — One of the ignoble truths of living as a disabled person is that people stare. People stare at us because we’re different. They stare because they can. Performance is one way that disabled people wrestle back control. We get to choose when people stare at us. It is liberating.
In Back to Back Theatre’s The Shadow Whose Prey The Hunter Becomes, the disabled cast wants you to stare so they can stare back. And when they do, they do not flinch. I’d wager good money that Thursday night’s audience has never had their gaze turned back on them. Witnessing this was deliciously rewarding. Continue reading →
“Ring-a-round the rosie, A pocket full of posies, Ashes! Ashes! We all fall down.” – Traditional song (American version)
Boston, MA — We All Fall Down is a family portrait that examines clashing egos during a period of family dilemma. The Stein family isn’t talking to each other. In their defense, they aren’t listening either. It’s Passover. Everyone has an agenda and none of them correspond. We All Fall Down is about the power we give denial. The stronger the denial, the tauter the family bond. Continue reading →
Trigger warning: white guilt, language, fuck the police
(Boston, MA) The sheer volume of what one must understand as true regardless of personal belief in order to not merely understand but thoroughly digest Antoinette Nwandu’s Pass Over at SpeakEasy Stage is overwhelming. The role that white people play in perpetuating racism’s systemic horrorshow machinations against Black people (and all people of color) is astounding.
Here is a list of links containing basic concepts that could be helpful.
Presented by American Repertory Theater Music, Lyrics, Book, and Orchestrations by Dave Malloy
Based on Moby-Dick by Herman Melville
Music Direction and Supervision by Or Matias
Choreography by Chanel DaSilva
Developed with and Directed by Rachel Chavkin
(Cambridge, MA) Moby-Dick, as director Rachel Chavkin said when talking about multihyphenate writer Dave Malloy, attempts to formally “capture Melville’s eclecticism”. The novel Moby-Dick has a chapter as a play, another as a poem, and wraps the tale of an ill-fated drive for vengeance alongside descriptions of whale types, and the many ways one can prepare and eat a whale. Continue reading →
(Lowell, MA) You know a play hooks you when you start to get uncomfortable from the opening moment. As the lights go up in Slow Food,, we see two diners, Peter and Irene (Joel Van Liew and Daina Michelle Griffith) looking wane in a Greek restaurant as they begrudgingly sip glasses of water and wait. By the time the waiter, Stephen (Brian Beacock), appears, it is hard not to hate him. Continue reading →