Tag Archives: MA

Oct 13

Between the Diet Coke Button and the Nuclear Codes: ASP’s “Macbeth”

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Omar Robinson (center) with Brian Demar Jones, Dennis Trainor Jr., Claire Mitchell, and Brooke Hardman (2025). Photo by Benjamin Rose Photography.

Presented by Actors’ Shakespeare Project
by William Shakespeare
Directed by Christopher V. Edwards
Digital Playbill

Oct. 2-26, 2025
The Dorothy and Charles Mosesian Center for the Arts
321 Arsenal Street
Watertown, MA 02472

Content Warning: This production employs the use of water-based haze, stage cigarettes, flashing lights, strobe effects, and gunshots. 

RUN TIME: Approx. two hours and twenty-five minutes, including one intermission.

Warning: This critique includes light production spoilers. 

WATERTOWN, Mass — It’s been a busy quarter season for Macbeth performances: Commonwealth Shakespeare Company’s Stage2 student players performed Mackers in May; Cambridge’s Dream Role Players performed it in Longfellow Park last August; Boston Lyric Opera performed it at Emerson Colonial Theatre last weekend. Actors’ Shakespeare Project’s production is at the Mosesian Center for the Arts in a vastly nontraditional production through October 26.  

ASP’s Artistic Director Edwards interprets Macbeth as a 1960s psychological and physical nightmare horrorscape in which fascistic tyranny, state-sanctioned drug abuse, bipartisan gaslighting and lies are de facto political tactics. In this version (as in our current White House), the psychological horrors outweigh the physical violence. Set in the U.S. immediately after the Cold War, title character Macbeth (Omar Robinson, unhinged and unbothered), Banquo (Jesse Hinson), Macduff (Brian Demar Jones), Ross (Jennie Israel), Malcolm (Chingwe Padraig Sullivan), Fleance (Vince Nguyen) and King Duncan (Dennis Trainor) are celebrating a battle win despite their personal tragendies. Amidst their revels, three psychological terrorists/witches (Jade Guerra, Amanda Esmie, Claire Mitchell) indoctrinate Lady Macbeth (Brooke Hardman) and Lord Macbeth into regicide through mind control manipulation and hallucinogenic drugs.    Continue reading →

Oct 08

Using His Powers for Good: “300 Paintings”

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Sam Kissajukian in performance of 300 Paintings. Credit: Evgenia Eliseeva

Presented by American Repertory Theater
Written and Performed by Sam Kissajukian
Produced by Sally Horchow and Matt Ross in association with Octopus Theatricals

Now – Oct. 25, 2025
Farkas Hall
12 Holyoke Street
Cambridge, MA 02138

Running Time: 90 minutes, no intermission

Critique by Diana Lu

CAMBRIDGE, Mass. — Watching 300 Paintings feels a bit like being dropped straight into the mind of Sam Kissajukian, mid-manic episode—but with comfy seats, visual aids, and killer comedic timing. For 80 minutes straight, the comedian-turned-painter commands the stage with no script; his first 300 paintings flash on the black screen behind him. The result is a hilarious, high-energy, and surprisingly insightful comedic monologue that explores the fine line between genius and madness, connection and isolation, and what gets assigned as worthy in this late-stage capitalist world of unprecedented wealth disparity—a world obsessed with packaging everything, including ourselves, into “brands,” “content,” “product.” Continue reading →

Oct 01

Magic in every corner: “The Fairy Tailor”

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Sarah Nolan and a friend.

Presented by Puppet Showplace Theatre
Created and performed by Sarah Nolen

Sept. 27 – 28, 2025
Brookline Puppet Showcase
32 Station St.
Brookline, MA 02445

Review by Maegan Bergeron-Clearwood

BROOKLINE, Mass. — The cozy stage at Puppet Showplace Theatre in Brookline is overflowing with trinkets and tools: sewing boxes and pincushions; an ironing board and dress form; satins, sequins, and silks. These every day, seemingly mundane objects are the source of resident artist Sarah Nolen’s magic as she transports us beyond her shop walls and into three fantastical fairy tale worlds.

Nolen plays the titular tailor, who desperately needs the audience’s help as she frantically prepares for a visit from her biggest, scariest customer in The Fairy Tailor. To calm her frayed nerves, she tells stories, each with a quirky, interactive twist (and plenty of puns). Continue reading →

Sep 23

Swagger and Thunder Over Coffee: “The Mountain Top”

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Dominic Carter as Dr. Martin Luther King, Jr; Photo by Benjamin Rose Photography.

Presented by The Front Porch Arts Collective in collaboration with The Suffolk University Modern Theatre
Written by Katori Hall
Directed by Maurice Emmanuel Parent
Assistant Directed by Kayla Sessoms

September 19 – October 12, 2025
 The Suffolk University Modern Theatre
525 Washington Street
Boston, MA 02111
Digital Program: Link

Runtime: 90 minutes with no intermission

Review by Helen Ganley

“Never meet your heroes, because they’re sure to disappoint you.”

BOSTON — This Proust quote drips with cynicism, suggesting that if we become too familiar with those we admire, they’ll inevitably fall short of our expectations. I disagree. Heroism isn’t about being untouchable; it’s precisely the fact that they are human, flaws and all, who nonetheless achieve something extraordinary that makes them heroic in my eyes.

The Front Porch Arts Collective’s production of “The Mountaintop” challenges this very notion. Written by Katori Hall, the two-character play reimagines Dr. Martin Luther King Jr.’s final night at the Lorraine Motel in Memphis, Tennessee, on April 3, 1968. There, he engages in a flirtatious yet profound conversation with a motel maid named Camae, one that blends the ordinary with the spiritual. The play premiered in London in 2009 before transferring to the West End, where it won the Olivier Award for Best New Play. Its Broadway debut came in 2011 at the Bernard B. Jacobs Theatre, starring Samuel L. Jackson as Dr. King and Angela Bassett as Camae. With its mix of realism and magical elements, The Mountaintop offers a moving meditation on mortality, legacy, and the unfinished work of justice. Continue reading →

Sep 22

You Gotta Fix the Trouble in Your Own Neighborhood Before Makin’ Trouble Anywhere Else: “The Ceremony”

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Photo by Ken Yotsukura.

Produced by CHUANG Stage, in partnership with Boston University School of Theatre and Boston Playwrights’ Theatre (with The Huntington)
A World Premiere by Mfoniso Udofia
Directed by Kevin R. Free

September 11 – October 5, 2025
Joan & Edgar Booth Theatre
Boston, MA

Critique by Kitty Drexel

Holy cats, tickets are sold out! Congratulations to the cast, crew and staff of The Ceremony! Break all the legs! A ticket waitlist is HERE. 

BOSTON — The saying goes, weddings, funerals, and babies bring out the best and absolute worst in people. Whether fearing change, fearing loss of control, or feeling overwhelmed by all of the pesky details, these three situations stir madness in even the most sensible of people. So, it makes sense that a loving but frequently rocky family dynamic, such as the Ufots’ in Mfoniso Udofia’s Ufot Family Cycle, would experience some instability during wedding planning. The Ceremony, now at BU’s Joan & Edgar Booth Theatre, shows us what happens when a family’s intergenerational secrets threaten a happy couple’s wedding plans.  Continue reading →

Sep 21

TD Garden, #1 Diva Karaoke Experience: “Kristina Wong, #FoodBankInfluencer”

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Kristina Wong influencing food; photo by Sally Blood.

Presented by ArtsEmerson
Written and performed by Kristina Wong
Directed by Jessica Hanna
Music directed by Howard Ho

Sept. 19 – 21, 2025
Robert J. Orchard Stage
Emerson Paramount Center
559 Washington St
Boston, MA 02111

Critique by Noe Kamelamela 

Content warning: food insecurity and the general chaos of 2025

BOSTON — I would rather hear a sad announcement in person. I also prefer to receive happy updates in person, face-to-face. If I have to absorb any kind of information regarding current events, I prefer the stylings of a comedian. Particularly, I want a comedian who knows they are not a journalist. I hope to experience two to five seconds of joy because it is 2025, and the current recession and situations are stressful enough. At least, laughing a little while facing a different, potentially new to me crisis, makes dealing with it more bearable.

Kristina Wong, #FoodBankInfluencer made good use of the bad news sandwich format. It contains horrifying truths to learn about and also uplifting sing-alongs to enjoy. It discusses histories of genocide, and it offers every audience member free food. Continue reading →

Sep 21

Nostalgia, Homecoming & Misogyny: “The Hills of California”

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Meghan Carey, Kate Fitzgerald, Alison Jean White, Chloé Kolbenhyer, Nicole Mulready (on floor); photo by Liza Voll.

Presented by The Huntington in association with Berkeley Repertory Theatre
Written by Jez Butterworth 
Directed by Huntington Artistic Director Loretta Greco 
Music direction by Daniel Rodriguez

September 12 – October 12, 2025
The Huntington Theater 
264 Huntington Avenue
Boston, MA 02115

Critique by Kitty Drexel

Please note: Herbal cigarettes and smoke/haze are used in this production. You may want to take an antihistamine or wear a mask if you suffer from allergies.

This critique contains plot spoilers. Read at your own risk. 

BOSTON — The Huntington’s production of The Hills of California, newly staged by Artistic Director Loretta Greco and currently running through October 12 at the Huntington Theater in Boston, is beautifully staged, beautifully sung, and beautifully acted. It is technically perfect. Unfortunately, playwright Jez Butterworth traumatizes his female characters while prioritizing their relationships with men instead of giving them backstories or personalities. He objectifies them as underage entertainment instead of as human entertainers. It’s too bad, because he is thisclose to letting them be real people.

Summary: Three out of four adult Webb sisters’ (Amanda Kristin Nichols as Gloria, Aimee Doherty as Ruby, Karen Killeen as Jillian) homecoming to the seaside guest house where they grew up. As girls (Kate Fitzgerald as Young Joan, Meghan Carey as Young Gloria,  Chloé Kolbenheyer as Young Ruby, Nicole Mulready as Young Jillian), their fierce and ambitious mother Veronica (Allison Jean White) trained them for a singing career à la The Andrews Sisters. Now adults, the sisters must reconsider the choices their mother made, the nostalgic call of youthful harmonies, and the unbreakable bonds of family while they wait for their prodigal sister Joan to come home. Trigger warnings: Pedophilia, sexual coersion and abuse, forced abortion, eof-of-life care of an elder, alcoholism, alleged drug abuse, hackneyed playwriting.  Continue reading →

Sep 16

Two Turn-of-the-Century Trailblazers: “The Kittie Knox Plays” & “Silent Sky”

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The Kittie Knox Plays 
Produced by Plays in Place with MassBike
Three one-act plays by Patrick Gabridge, Claire Gardener, Kirsten Greenidge
Directed by Michelle Aguillon
Music direction by Nicholas Chieffo
Choreography by Hampton Richards
Performances in Cambridge, Milton and Boston, MA
The plays are FREE, but registration is required. 

&

Silent Sky 
Produced by Central Square Theater, a Catalyst Collaborative@MIT Production
By Lauren Gunderson
Directed by Sarah Shin
Sound designer and composer: Kai Bohlman
Choreography by Peter DiMuro
Performances in Cambridge, MA
Playbill online

Critique by Kitty Drexel

CAMBRIDGE, Mass. — The 2025/2026 theatre season began in earnest for this queen theatre geek with two turn-of-the-century plays about two local headstrong, heart-set trailblazers: daredevil cyclist Kittie Knox (1874 – 1900) and astronomer Henrietta Swan Leavitt (1868-1921) and her colleagues at the Harvard Observatory. I had the great fortune of watching both productions on Saturday, Sept. 13. Like a curated tasting of fine wines, the productions have their distinct differences but offer something for every playgoer.  Continue reading →

Sep 05

Pushing the boundaries of genre and form: “Passengers”

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Photo by Alexandre Galliez.

Production by The 7 Fingers
Presented by American Repertory Theater
Co-produced by TOHU (Montréal, Canada) and ArtsEmerson (Boston, États-Unis)
Written, directed, and composed by Shana Carroll
Composition and music direction by Colin Gagné
Lyrics Colin Gagné, Shana Carroll
Lighting design by Eric Champoux
Projection design by Johnny Ranger
Featuring: Victor Crépin, Eduardo De Azevedo Grillo, Isabella Diaz, Marie-Christine Fournier, Téo Le Baut, Amanda Orozco, Michael Patterson, Basile Pucek, Santiago Rivera, Méliejade Tremblay-Bouchard

September 2 – 26, 2025
Tickets
Loeb Drama Center
64 Brattle Street
Cambridge, MA 02138

Review by Maegan Clearwood

This production contains haze and flashing lights. 

CAMBRIDGE, Mass. –Since moving to Boston four years ago, I have been spoiled rotten by access to top-tier circus – from kitschy Halloween horrors with Boston Circus Guild’s Cirque of the Dead (now an annual tradition of mine) to a breathtaking showcase of talent from the instructors at Commonwealth Circus Center in Jamaica Plain. I am in awe of the twisty, bendy, flippy talent that’s on regular display here in my own backyard.  

Aside from this array of homegrown talent, Boston also has an ongoing love for Montreal circus troupe The 7 Fingers. The A.R.T. presented the ensemble’s spin on Pippin in 2012, and ArtsEmerson hosted Duel Reality last season, an irreverent twist on a Shakespearean classic. This fall, the troupe is back at The A.R.T. with its production of Passengers, which first premiered in Boston in 2019. Continue reading →

Jul 29

Kafkaesque Comedy: “The Understudy”

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Hub Theatre Co presents “The Understudy.”

Presented by The Hub Theatre Company of Boston
Written by Theresa Rebeck
Director – Paula Plum
Choreographer – Kiki Samko
Cast – Lauren Elias, Cristhain Mancinas-Garcia, Kevin Paquette

July 19 – August 2, 2025
Pay-What-You-Can Admission
Club Café
209 Columbus Ave.
Boston, MA 02116

Critique by Craig Idlebrook

BOSTON — Those who make the theatre their profession love to write about theatre as a profession. It’s an occupational hazard that audiences enjoy.

Playwright and author Theresa Rebeck is perhaps best known for penning the television show Smash, which premiered in 2012. The show followed the messy development process for a new musical and became something of a cult favorite during its two-season run. The play The Understudy, which Rebeck published in 2010, can feel a bit like a quiet prequel to Smash. The two works share themes about the push and pull between wanting to make great art and wanting to make it big. Continue reading →