Aug 10

It’s a Gift to be Phallic: “Pitbull’s Party at the End”

Presented by Fork & Shoe Theatre Co-op
By Talia Rodriguez
Directed by Leo Leal

August 6-9, 2026
Chelsea Theatre Works

Critique by Kitty Drexel

The show runs approximately 95 minutes with a 15-minute intermission. Venue opens 30 minutes before the show.

TLDR: It’s complicated. There’s good; there’s not great. Keep going.

CHELSEA, Mass. — Pitbull’s Party at the End was an ambitious project debuted by Fork & Shoe Theatre Co-op at Chelsea Theatre Works on Aug. 6. Unfortunately, it closed early due to COVID. We offer our sincere condolences to the cast and crew. Y’all deserve to feel proud of the work you’ve done. Successfully producing an independent show is a minor miracle in these dark times.  

Pitbull’s Party at the End’s summary on the Fork & Shoe website: It’s 2042 and a hurricane threatens to wipe Miami off the map. Meanwhile, Mr. Worldwide (Carlos Fruzzetti, charismatic and funny) is performing his last ever New Year’s Eve concert, the Phallic brothers (David Feit Mann, Scott Schaeffer, Eli Bondar) are planning the business deal of a lifetime, and an intergenerational Cuban-Jewish family (Paola Ferrer, David Kleinman, Sophia Yael Koevary, Audrey Molina) must bridge their differences to survive the apocalypse.

Pitbull’s Party suffers from too many storylines and too many messages carrying equal importance. This one 95-minute play is about the ethnic cleansing of multiple societies, our global climate disaster, Jewish Cuban culture, billionaires’ atrocities, intergenerational queer identity, anticapitalist philosophy, and the Grammy-winning American rapper, singer, songwriter, and “actor” Armando Christian Pérez, aka Mr. 305, aka Mr. Worldwide, aka Miami’s bald zaddy, Pitbull. Carrying that many subplots in one play requires careful threading.  Continue reading

Aug 05

We are all just prisoners here of our own device: “M: Refractions from an Evil Act”

Grant and Hertzberg in “M.” Photo credit: Morganna Becker.

Presented by Exiled Theatre Company 
Written by James Wilkinson
Directed by Joe Juknievich
Starring: Julia Hertzberg, Sydney Grant, Tim Hoover and Peter Tone

July 31-Aug 9, 2026
Boston Playwrights’ Theatre

Critique by Kitty Drexel

TLDR: is a work in progress; the acting is top-notch.

BOSTON — M: Refractions from An Evil Act includes English and French dialogue. There are no subtitles. (My French is abysmal.) My impression is that we aren’t meant to understand the French dialogue in M. This helps us sympathize with M, the character… And hopefully anyone thrust into a hairy situation involving language skills they don’t possess. Including ourselves.

Playwright Wilkinson creates a comprehensive world within a David Lynchian hotel in which his characters eke out their fraught existence. He shows and tells its rules through consistent repetition. Then, à la Jean-Paul Sartre’s No Exit, Wilkinson shows us what happens if characters don’t obey those rules: Characters collapse, disappear and reappear, alcohol is replaced with more alcohol… and the maid still comes to vacuum the guest room.  Continue reading

Jul 17

Alarm Goes On, Alarm Goes Off: “Paranormal Activity” (play)

Cuddles in “Paranormal Activity.” Photo by Matthew Murphy.

A Strictly Limited Pre-Broadway Engagement
Presented by ATG Entertainment
Written by Levi Holloway 
Directed by Felix Barrett
Based on the “Paranormal Activity” films, first written and directed by Oren Peli and brought to the screen by Blumhouse and Solana Films.
Featuring: Cher Álvarez, Travis A. Knight, Shannon Cochran, Eva Kaminsky, Bobby J Howlett.

Sat, Jul 11 – Thurs, July 30, 2026
Emerson Colonial Theatre
Boston, MA

Article by Kitty Drexel

TLDR: Lots of scary, suspenseful fun; excellent acting and stagecraft; Not for folks who dislike suspended tension or jump scares. This critique contains light spoilers. 

BOSTON — I don’t prefer horror movies. I might watch one at home with a friend and the sound off if I have a persistent interest. I feel the same about horror novels unless I know for certain that the dog lives and the female protagonist survives unraped with all her limbs.  

Horror theatre, on the other hand, is good ole’ safe, insane, enthusiastically consensual fun. I take comfort in knowing that, behind the scenes, a hardworking team of corporeal humans has planned for weeks the titillation of their audience. Their work allows us to wriggle ourselves into an adrenaline-spiked, scared (horny?) stupor. If there ever were a real danger, an omniscient stage manager would call “Hold” into the God mic and save us all from a cortisol overdose. If you enjoy such an experience, too, Paranormal Activity running at the Emerson Colonial Theatre is for you. It had thrills and chills aplenty. Its stagecraft is top-notch – Both worthy reasons to shell out for tickets. You will be frightened if you want to be.  Continue reading

Jun 12

A Swan Lake Superfan Peeled Like a Grapefruit, Stepping Out of Her Skin: “Black Swan”

The “Black Swan” gala or the “Phantom” gala? We may never know. Photo Credit: Hawver and Hall.

Presented by American Repertory Theater
Based on the Searchlight Pictures Film “Black Swan,” with story by Andres Heinz
Book by Jen Silverman
Music, Lyrics, and Orchestrations by Dave Malloy
Directed and Choreographed by Sonya Tayeh

May 26 – July 12, 2026
Loeb Drama Center
64 Brattle Street
Cambridge, MA 02138

Content Warnings: This production depicts characters experiencing mental health crises and physical violence/body horror. It contains intense strobe, flashing lights, haze, fog, and loud noises. They are frickin’ cool as heck. The lighting, sound, and illusion design departments know how to throw a creepy party. 

Recommended for ages 16+.

Critique by Kitty Drexel

TLDR: Dance = good. Everything else = iffy.

CAMBRIDGE, Mass. — The A.R.T.’s Black Swan is based on the award-winning 2010 Darren Aronofsky film of the same name. It should be noted that the musical is not a strict remake of the film, and the musical makes several swift departures. Patrons can appreciate the musical without intimately knowing its source material. I found a rewatch of the film helpful before attending, as it gave me context for the musical’s more abstract psychological moments. It also reminded me when to expect a potential scare, because I’m an inappropriate giggler. Depending on one’s personal preferences, it may be better to watch the film later. 

If you don’t want to watch the movie, you can get by on reading the Wikipedia summary. Writing of which, this article contains spoilers. You have been warned.  Continue reading

May 16

Always and Forever, Each Moment with You: “Oedipus El Rey”

L to R: Victor Almanzar, Javier David, Juan Arturo,Gabe Martínez in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Presented by The Huntington
By Luis Alfaro
Directed by Loretta Greco
Dramaturgy by Sonia Fernandez and Ynika Yuagg
Fight direction and intimacy coaching by Jesse Hinson 
Voice and dialect coaching by Adi Cabral

May 7 – Sunday, June 14, 2026
The Roberts Studio
Calderwood Pavilion 
Boston Center for the Arts
527 Tremont Street, Boston, MA, 02116

Online Playbill

The show contains full but brief nudity. Do with that information what you will. Check out the warnings HERE

Critique by Kitty Drexel

BOSTON — Audience members were activated on Wednesday night’s performance of Oedipus El Rey (now extended through June 14!) in the Calderwood Pavilion. The room buzzed with the conversation of friends greeting friends, ushers finding seats, Latin music played; it was the general hubbub of pre-performance excitement. No matter what happened on the stage, the atmosphere welcomed a good time for most of us.

I say most, because The Huntington’s Oedipus El Rey was written with the LA Chicano community in mind. Alfaro’s play borrows heavily from Chicano stereotypes, such as illiterate criminals and hypersexualized women. Alfaro’s work then grants personhood to some of them.  Continue reading

Mar 17

Can’t Sleep, The A.I. Will Eat Me: “The Antiquities”

Foreground: Kelsey Fonise; background: Alison Russo; Photo by Benjamin Rose Photography.

Presented by SpeakEasy Stage Company
By Jordan Harrison
Directed by Alex Lonati
Dramaturgy by Reyn Ricafort 
Featuring: Alison Russo, Kelsey Fonise, Helen Hy-Yuen Swanson, Catia, Jesse Hinson, Tobias Wilson, John Kuntz, Anderson Stinson III, Harry Baker

March 6 – 28, 2026
Boston Center for the Arts
Calderwood Pavilion
The Roberts Studio Theatre
527 Tremont St.
Boston, MA 02116

Content Warning: This production contains strong language, sexual content, mild violence including limb severing, and potentially distressing themes.

Article by Kitty Drexel

BOSTON — Mary Wollstonecraft Shelley published her most famous novel, Frankenstein, in 1818. Czech writer Karel Čapek published his revolutionary play, R.U.R. (Rossum’s Universal Robots), in 1921. Today, SpeakEasy Stage Company presents The Antiquities, a play about A.I.’s preservation of human existence at the Boston Center for the Arts. 

Playwright Čapek anticipated modern A.I. without predicting its foibles or dangers. R.U.R. tells of an inventor, Mr. Rossum, who builds artificial humans to enslave them. Helena, a sympathetic human and love interest, gives Radius, a rebellious robot, access to a human library so he may acquire knowledge. Instead of using knowledge to gain equality, Radius seeks to enslave humans in return. Like one recent study on modern A.I. at Cornell’s Kempner Institute, Rossum’s A.I. robots mutated past rote learning to develop their intelligence beyond their humans’ dictates. Over one hundred years of science fiction media later, including Blade Runner’s Voight-Kampff Test, Jordan Harrison gives us The Antiquities, a play that foretells an era without humans. (Apologies to Charlton Heston.) Continue reading

Feb 23

It Starts with An Earthquake, Birds & Snakes, An Aeroplane: “The Bald Soprano” & “The Lesson”

Photo by Ben Rose Photography.

Presented by Hub Theatre Company of Boston 
Written by Eugène Ionesco
Directed by Bryn Boice
Intimacy Choreography by Lauren Cook

February 21 – March 8 2026
BCA Plaza Black Box Theatre
539 Tremont Street
Boston, MA 02116

2 hours with ONE 15-minute intermission
Suitable for 13+

Critique by Kitty Drexel

BOSTON — Theatre of the Absurd plays are why normies make fun of us. These plays are, by definition, intentionally bizarre. If you enjoy works by Beckett, Jean Genet, Pinter, etc., you’ll enjoy Hub Theatre Company’s production of Eugène Ionesco’s The Bald Soprano and The Lesson, currently at the BCA. Even if you don’t but do want to support well-assembled fringe theatre, it’s worth your while to check out Hub’s current offering.  Continue reading

Feb 16

Here There Be Dragonnes: “The Moderate”

Celeste Oliva and Nael Nacer in The Moderate. Photo: Nile Scott Studios.

Presented by Central Square Theater
A Catalyst Collaborative@MIT Production
By Ken Urban
Directed by Jared Mezzocchi

February 5 – March 1, 2026
Central Square Theater
450 Massachusetts Avenue
Cambridge, MA 02139

Strobe and flashing lighting effects are used in this production.

Using the Motion Picture Association rating system, this production lands between R and NC-17 ratings for sexual content, violence, and mature themes including political terrorism and child abuse. 

Article by Kitty Drexel

CAMBRIDGE, Mass. — Let’s begin with the end. In an interview with Playwright Ken Urban and Director and Multimedia Designer Jared Mezzocchi, I asked the duo what they hoped audiences would take away from their production of The Moderate (now playing at Central Square Theater). Urban said the play is a human story about a man struggling with his past. In doing so, he helps someone in the present. This is possible through Frank’s interactions online

Mezzocchi said he hopes audiences consider how their own internet use could be harmful and instead take a moment to reflect and look within themselves to find hope. 

Hold on to Mezzocchi’s message of hope. You’ll need it.  Continue reading

Jan 31

Daddy Only Loves Winners: “The 25th Annual Putnam County Spelling Bee”

Hive’s Cast of “The 25th Annual Putnam County Spelling Bee.”

Presented by Hive Theatre Company 
Book by Rachel Sheinkin
Conceived by Rebecca Feldman
Music and lyrics by William Finn
​Directed & Choreographed by Margaret McFadden
Musical Director John Eldridge

January 22, 2026 – February 1, 2026
Plaza Theatre at the Boston Center for the Arts
539 Tremont Street
Boston, MA 02116

Critique by Kitty Drexel

“Caterjunes,” from UrbanDictionary.com
An old Nantucket whaling term with only one known citation.
“The neap tide draws. The Leviathan nears. Caterjunes.”
Definition by the_roflsauces from January 1, 2009.

BOSTON — Wednesday night’s subway and road traffic was awful. We braved massively crowded red, orange and green line cars to stumble our way to the Boston Center for the Arts. Hive Theatre Company presented The 25th Annual Putnam County Spelling Bee. We’re happy to say the production was worth all of the effort to get to the BCA. 

(A note to BCA employees: The weird smell that lived in the largest bathroom is in the lobby now. It’s heinous. Is it coming from the ceiling, the floors, the walls? Investigate it. Y’all need to do something before patrons stop buying tickets. It’s unfair to everyone to charge money and subject us to whatever is going on in there. Additionally, the paper towel dispensers aren’t loaded, and some of the soap dispensers don’t function. Caring about community includes caring about its spaces. Your hardworking janitorial staff can only do so much when the entire space requires renovation. )   

This is Hive’s second production and follow-up to last Fall’s The Wolves. The company says it engages the work of teens and young adults in its production. Its artists might be young, but they display a maturity beyond their years. From the minor details in its design to the character work of its actors, The 25th Annual Putnam County Spelling Bee is a solid production worth the weary steps across the ice and snow.  

The 25th Annual Putnam County Spelling Bee had a Broadway production directed by James Lapine in 2005. Its revival, directed by Danny Mefford, is currently running in New York at the New World Stages. A production famous for its 4th wall breaking, volunteer embarrassing hijinks and special guests off-Broadway included Daniel Radcliffe and Lin-Manuel Miranda. Hive’s production did not feature anyone terrifically famous on Wednesday. There is still time. 

Rachel Sheinkin and William Finnis’ musical turns the show’s audience into the audience for an elementary school spelling bee (as indicated by the title). Stakes are high for six prepubescent kids (Cameron Nye, Anna Wright, Alex Kennedy, Kaden Mays, Ashley Ha, Maya Gopalswamy) battling for the title of spelling bee champion and the chance to go to the finals in Washington. They spell real and pretend words while offloading intimate details about their personal lives. We experience secondhand embarrassment and, hopefully, mass empathy for these socially awkward, over-stressed kids who lack the experience to know that other opportunities for success will eventually arise if they keep going. 

Amanda Wade tackles the role of zealous adult judge and previous spelling champ, Rona Lisa Peretti. She is matched by Josh Telepman as the second judge and super creep, Vice Principal Panché. Salavatore Guillermo Garcia plays comfort counselor with a heart of gold and hand of juiceboxes, Mitch Mahoney. 

For folks familiar with the musical, characters such as Leaf Coneybear, Marcy Park, and William Barfeé are infamous for their quirky personalities. Hive’s production is notable because it’s clear that the entire cast dug deep to make their characters as eccentric as possible. From a tween political pundit-in-training to an ex-con, our actors made it delightfully weird.    

Margaret McFadden’s staging and choreography take great advantage of the set design by Kevin Deane Parker. Actors are flinging candy into the audience, running across the stage, and even forming a brief kickline. McFadden’s most inspired staging appears in “Magic Foot” and “I Speak Six Languages” thanks to castmembers Mays and Ha. Mays commits to the bit and gives us unusual athleticism for an antisocial speller. Ha is a quadruple threat: high kicks, the splits, and a short moment on the Music Director John Eldridge’s piano all while singing in multiple languages. McFadden’s Act 2 Love Ballet receives special mention for adding unexpected sweetness to a vulnerable moment between Barfeé and Ostrovsky (Gopalswamy). 

Additionally, scenic designer Parker and costume designer Samantha Wolfrum provide subtle depths to the production. Parker put matching functional waterbottles with matching Spelling Bee labels by each contestant’s chair, even the volunteer contestants, which matches the judge’s banner which matched the ceiling banner. An anti-bullying poster looked real. Wolfrum paid special attention to the details of her costuming: Peretti donned a glammy bee brooch. Coneybear, who dressed himself, wore a frog fannypack and a frog finger puppet. 

With all the subtle and unsubtle work going into The 25th Annual Putnam County Spelling Bee, we would be remiss if we didn’t offer some words of caution. A production such as this one invites the cast and its audience into a niche community within a niche community. Hive Theatre had many friends and family in its audience on Wednesday evening. Its actors invited many laughs. There were also laughs from inside jokes and friendships with audience members. 

Generally speaking, inside jokes should be avoided. They alienate an audience who may or may not know what is going on. The joke isn’t funny if everyone isn’t involved. Invite friends and parents to a dress rehearsal to get your giggles out. Paying patrons may not give you a second chance.   

In a poignant moment during The 25th Annual Putnam County Spelling Bee, the character Logainne Schwartzandgrubenniere, played by Anna Wright, goes on a heated tirade about the pointless renaming of the Gulf of Mexico and the Kennedy Center to appease a certain orange-skinned, vulva-throated pedophile protecting president with an ego so fragile that Fox News covers his terrible golf scores instead of national protests. We must consider what kind of world we are leaving our children’s children. Even we thousandaire, childless catladies need to be concerned about the next generations of American citizens, inside and outside of Greenland. Our kids are concerned for us all. That alone deserves our respect and support. 

Fuck Ice. 

Jan 25

First Time with Feeling: “The Great Pistachio”

Production Art.

Presented by Yorick Ensemble
By Nicholas Cummings
Directed by Rachel Hall
Fight choreography by Sydney T Grant
Puppet consultant: Em Sheeran

January 23 – February 1, 2026 
Boston Center for the Arts
Plaza Black Box Theatre
539 Tremont St.
Boston, MA 02116
Online playbill

Critique by Kitty Drexel 

BOSTON — The Great Pistachio is an absurd gem of a play about nothing and everything that starts with the letter B: Brechtian, Beckett, burrow, beg, bunker, banjo, beige, brown, bureau of criminal apprehension, bruise, beets, Bertram, Boris, and Beatrice. To a lesser extent, it’s a play about things that start with the letters A and C: apocalypse and company policy. Yorick Ensemble brings this eccentric but thoughtful one-act play from the New York and Edinburgh Theatre Festivals to the Boston Center for the Arts for two weekends. If you survive Snowmageddon 2026, it’s worth carving a path to the South End to see it before it flits to another city.

Hold on to your butt, we’ve got a weird one. In a bunker at the end of the world, brothers Bertrand Brambles (John Brownlie) and Boris (Tim Lawton) are working on very important projects. Bertrand has written his magnum opus: a five-act, 272-page play free from worldly influence. Boris is determined to finally catch up on his newspaper reading; he won’t budge until he does. But! Boris might watch Bertrand’s play if Bertrand finds it a cast.  Continue reading