Becky Webber as Rosalind Franklin and Nick Sulfaro as Ray Gosling in Photograph 51 performing through March 18 at Central Square Theater, 450 Massachusetts Avenue, Cambridge, MA. Presented by The Nora Theatre Company. Photo: A.R. Sinclair Photography
(Cambridge, MA) Photograph 51 chronicles Rosalind Franklin’s work, which leads to the discovery of the double helix structure of DNA. Surrounded by men, Franklin does not have a chance for her voice to be heard amongst her male colleagues. Nora Theatre Company’s production presents a truthful historical presentation of the discovery. Continue reading →
Robert Adelman Hancock & Megan McGinnis, photo by Meghan Moore
Daddy Long Legs, Music and Lyrics by Paul Gordon, Book by John Caird, Based on the novel by Jean Webster, Merrimack Repertory Theatre, 2/9/12-3/4/12
Reviewed by Anthony Geehan
(Lowell, MA) The concept of love at first sight is something that has been around in theater and literature since the times of ancient mythology. There is another and more complicated hook for a love story however, in which two people fall in love without ever seeing each other. Such pieces as Mask, Sleepless in Seattle, and Parfumerie have taken on the concept that love can spark purely on personality and intrigue without any physical attributes taken into account. So it is with the musical Daddy Long Legs, a new performance being hosted by The Merrimack Repertory Theatre based off the book by John Caird. Continue reading →
(Cambridge, MA) No one who watches Court TV or Law and Order can deny the pull of a good crime drama. Even those who pretend to be indifferent or opposed to crime drama cannot help being drawn in (and for those who are still pretending that they don’t care, wasn’t that you who tweeted about the Casey Anthony trial all of those times?). What may surprise audiences of Medea is that society hasn’t changed much in 4000 years. Actors’ Shakespeare Project brings to life a Greek drama that examines the dark impulses and desires that haunt not only the “cultured” audiences from Greece’s Golden Age, but also the dark realities of our own society.
Before the play even starts, the audience is surrounded by an air of mystery and foreboding. Continue reading →
(Boston, MA) A play rarely works when the actors have to emotionally sprint throughout all acts. A cast needs to pick its moments to ratchet up the tension and raise the stakes, or risk numbing the audience with melodrama. Unfortunately, the Boston University production Monster begins at a precipice of volume and angst and never can climb down to connect with theatregoers. Instead of communion, the production comes closer to an assault.
Monster is an ambitious staging of Mary Shelley’s Frankenstein. At its best, the tale can be a window into the theme of the messy pain of creation and abandonment from God and/or our parents. Continue reading →
(Salem, MA) Much ink has been devoted to the subject of infidelity and romantic betrayal. Whether in songs, books, or plays, it’s a well-worn trope. Tom Stoppard recognizes this early on in The Real Thing, establishes that it’s a literary convention in the first scene, and spends the rest of the play dissecting what it really means to the characters. Continue reading →
(Boston, MA) Robbie McCauley begins the story of her life reciting food from her Georgia upbringing in the 1940’s. In detail, she describes cake and succulent barbecue ribs, the taste of Southern cooking compacted with an African American childhood restricted by racial segregation. She cheerfully rattles off the names of her favorite dishes and the relatives she best associates with them before revealing the diabetes with which she continues to fight. Continue reading →
(Watertown, MA) Art is…well, about art–the styles, philosophies, the impact on the individual. When a person creates a work of art, using quality tools always helps in creating a quality piece (although that’s not to say that there aren’t some interesting works of art made from found objects). Antonio Ocampo-Guzman starts with some of the finest: a brilliant script and a trio of Boston talent. Without any deeper analysis, those are two reasons to see the show. The problem with art, as the play postulates, is that art is subjective and will not necessarily be seen the same through the same lens by each person. Continue reading →
(Lowell, MA) In comic books, as in soap operas, you’re always hoping your favorite super hero will finally get his/her romantic mate. It was such a relief when Lois finally slipped off Superman’s glasses and figured out that Clark was a world-beater. And Peter Parker was always getting such a raw deal, even though he could have crushed his foes with his bare hands as Spider-Man, that it was a blessed event when Mary Jane finally noticed him.
But as soon as that happened, the characters stopped growing and the dialogue in the comics became just painful. It would be “darling” this and “sweetie” that, with some artful fade-outs when the couple needed some alone-time. The conversations grew so bad to read that you couldn’t wait for Lex Luthor to erase Lois’s memory with a Wipe-O ray gun and the courtship could start all over. Continue reading →
(Boston, MA) Yasmina Reza grabs the audience by the jugular and does not let go for an hour and a half. The evening at the Novak’s house in God of Carnage could easily have a voice-over that says “when people stop being polite… and start getting real.” However, unlike The Real World, Yasmina Reza brings a much more believable situation to its drama than any tv reality show. By taking a situation that anyone can relate to and heightening it to the absurd degree, God of Carnage holds a mirror up to our inner demons and leaves us laughing through the pain. Under the direction of Daniel Goldstein, with a talented cast, and a cleverly constructed set, Huntington Theatre Company’s production of God of Carnage is a “must-see” show of the season.
(Cambridge, MA) Few up-to-date on pop culture in the last few years have escaped the scourge of Twilight. The book and film franchise have jumpstarted the paranormal romance genre and, in the process, have become the focal point of obsession and hatred for fans and detractors, respectively. Something about the concept of a vampire falling for a teenager really polarizes audiences. Continue reading →