ZOOM — Theatre created in corona-times is theatre that can be preserved for future generations. Those generations will look back on our work and express amazement at the simplicity of our tech and the universality of the human condition. Fancypants stage technology can embellish a performance, but it isn’t necessary when the foundational elements of a performance are of superior quality. Fort Point Theatre Channel’s Zoom reading of Eugene O’Neill’s Long Day’s Journey Into Night captures both the rigidity of Zoom’s limitations while highlighting the subtle creativity of Fort Point Theatre Channel’s artists. Continue reading →
There Must Be Happy Endings: On Theatre of Optimism & Honesty By Megan Sandberg-Zakian Published by The 3rd Thing Press Olympia, 2020 Available on Kickstarter with a $24.00 pledge Paperback, 230 pages
LIVE ONLINE EVENT! Megan Sandberg-Zakian in conversation with Melinda Lopez March 23, 2020, 4:00 pm – 6:00 pm Free on the HowlRound website! More info below.
Event on Facebook
Review by Kitty Drexel
“An ending doesn’t have to be happy to be satisfying. A good ending, happy or not, draws a line around the experience of story hearing and telling. It picks the story up, holds it in its hands, and offers it out, whole. It gives us the opportunity for a collective breath. A good ending is honest: a boundary we can feel, the knowledgable edge of a reliable container. It is a ritual threshold between story and not-story.”
— Megan Sandberg-Zakian, “There Must Be Happy Endings,” There Must Be Happy Endings: On Theatre of Optimism & Honesty, 2020.
Somerville, Mass — There Must Be Happy Endings by Megan Sandberg-Zakian is an exploration in the personal dramaturgy of the mind and spirit. In her first book of essays, the author takes a deep dive into the works that have made a lasting impression upon her. They are an extension of her need to share stories through theatre. Whether by quoting Homer, The Dark Knight or Annie, these essays draw the reader into the author’s personal story by circumnavigating the landscape of the greater western narrative. She tells us why happy ends are important and why they are especially important to her. Her title essay isn’t demanding sappy closure but commanding a divine right to culminate our narratives with an end to the suffering within them. Continue reading →
Erin McKeown in Concert:
Saturday March 14 7p doors, 8p show
The Good Will Engine Company
41 Central St, Providence, RI 02907
Jocie Adams supports TICKETS for Erin McKeown in Concert
Interview conducted by Kitty Drexel
Providence, MA — Composer and lyricist Erin McKeown graciously agreed to answer interview questions ahead of her post-performance talkback after the March 13, 7:30PM performance of Miss You Like Hell at the Wilbury Theatre Group. We are grateful that she took the time to connect with us about performances, her career, and upcoming projects!
This interview has been edited for clarity, grammar, and length.
Queen Geek: March 2, 2020 was Super Tuesday. What parts of “Miss You Like Hell” do you find the most rewarding or cathartic in this political climate?
Erin McKeown: I find the witness to the audience extremely rewarding. It’s their catharsis that really feels good to me. I need to watch art that other people made in order to experience catharsis. I can’t feel my own catharsis with something I made. But I do really find it wonderful to watch. Continue reading →
Open Door Theater Presents “Into the Woods,” March 27 – April 5, 2020
Be careful what you wish for! Open Door Theater brings Into the Woods, the award-winning musical twist on beloved fairy tales, to the Dragonfly Theater in Acton, March 27 to April 5 at www.opendoortheater.org.
Music and Lyrics by Stephen Sondheim
Book by James Lapine
Originally Directed on Broadway by James Lapine
Orchestrations by Jonathan Tunick
Open Door Theater of Acton’s enchanting production of Into the Woods will run March 27 – April 5 at the Dragonfly Theater at R.J. Grey Junior High, 16 Charter Road, Acton. A musical twist on beloved fairy tales, the story follows Cinderella, Little Red Ridinghood, Jack (with his beanstalk), Witch, and Rapunzel as they meet in the woods and discover the true power of “I wish.”
Performances Into the Woods will include ASL interpretation at three performances, open captioning at all performances, a Sensory Friendly/relaxed performance, and an audio-described performance.
Tickets can be purchased HERE.
Accessibility information can be found at this link.
Friday, March 27th at 7:00pm / ASL
Saturday, March 28th at 7:00pm / ASL
Sunday, March 29th at 1:00pm / ASL
Friday, April 3rd at 7:00pm
Saturday, April 4th at 1:00pm / sensory friendly Act I only
Saturday April 4th at 7:00pm / audio described
Sunday, April 5th at 1:00pm /
Over the company’s 40-year history, Open Door has provided opportunities for underserved audiences to enjoy live theater. Tickets are $15 and all seats are assigned. For tickets and show details visit www.opendoortheater.org.
“You have a choice, don’t you, exactly, at our age which is that you slow down, melt into your slippers, start ordering front fastening bras out of Sunday supplements, or you make a committed choice to keep moving you know because you have to think: This is not the end of our lives but a new and exciting chapter.” – Hazel, The Children by Lucy Kirkwood
Boston, MA — Science fiction is about how humans interact with each other and the world amidst scientific and/or technological changes. Without getting into the nitty-gritty details of what is and isn’t science fiction, The Children is science fiction theatre. It has a lot to offer to everyone: science fiction enthusiasts will see themselves represented on the stage; science fiction cynics will see scientists as people. Everyone will see a great play by Lucy Kirkwood. Continue reading →
The “Hansel & Gretel” cast. C/o imaginary beasts on Facebook.
Presented by imaginary beasts Written & directed by Matthew Woods Additional text by the Ensemble: Laura Detwiler, Lauren Foster, Colin McIntire, Amy Meyer, Bob Mussett, Kiki Samko, Jamie Semel, Sivan Spector, Jennifer Taschereau, Matthew Woods Puppets designed by Elizabeth Owens & Jill Rogati
Charlestown, MA — The run of Winter Panto 2020: Hansel & Gretel by imaginary beasts ended on March 1. You are out of luck if you are reading this review now. It was wonderful! The cast’s acting talents were in excellent form because the script was chock full of boisterous puns and pop culture references. Scenery chewing extended to the audience just a little bit so as to rope all comers into the play’s antics. Best of all, the audience was game to interact with the show for the duration of the took the two-and-a-half-hour performance. If you watch the beastie website, you can catch them next year. Continue reading →
Stoneham, MA — Swan Lake in Blue: A Jazz Ballet is a retelling of the classic ballet Swan Lake with heavy jazz influences. It is set in the 1940s, and takes place in an audition space and night club. Continue reading →
Presented by Huntington Theatre Company Resident Direction / Choreography by Carisa Barreca
Original Direction / Head Writing by Carly Heffernan
Original Music & Sound Design by Mary Mahoney
Music Direction & Sound Design by Jacob Shuda
Stage Managing by William Collins
Boston, MA — I am woman, hear me roar… with laughter? She the People is fun, high-energy, and, in its best moments, a cathartic release of female frustrations. At its least effective, it is as on the nose as the opening sentence of this review, and narrow in its vision. Though not as radical as one might expect or hope for, it nevertheless presents an entertaining piece of political bubblegum pop to chew on. Continue reading →
(Watertown, MA)Cardboard Piano is a two-part sociopolitical drama. The first act portrays a young love affair between Chris, a missionary’s daughter (Marge Dunn), and Adiel (Rachel Cognata), a Ugandan teenager, and how it was torn apart by senseless homophobia and war violence. The second act sees the daughter return to Uganda 15 years later to find the man who killed her lover (Michael Ofori/Marc Pierre) reviving her father’s church and continuing to oppress his young, queer congregants. Continue reading →
Presented by Boston Opera Collaborative Music by Wolfgang Amadeus Mozart Libretto by Lorenzo Da Ponte Stage Direction by Patricia Maria-Weinman and Greg Smucker Conducted by Tianhui Ng
March 28 – April 6 Ben Franklin Institute of Technology 41 Berkeley Street Boston, MA 02116 Don Giovanni on Facebook
Content warning: Assault and sexual assault
Critique by Gillian Daniels
(Boston, MA) This iteration of Don Giovanni begins with a projection of the infamous pussy-grabbing quote from our Cheeto-in-Chief. It goes on to present images of Brett Kavanaugh, Kevin Spacey, Harvey Weinstein, and so many (too many) others. From minute one, it’s clear this is a production without subtlety, but for those of us who wake up in dread of what the news will say about the continued degradation of women’s rights in the United States, this is exactly the production we need. To use Don Giovanni as a lens to view our very national moment is a bold move and a difficult one to land.Continue reading →