(Boston, MA) The end of war is something that is looked on as a celebratory event. Images of servicemen returning home, country’s flags being raised, and a collective sigh of relief from the population are the usual symbols that are associated with victory. There is however always a losing side in a war who must deal with a devastated homeland, a shamed or exterminated army, and the loss of everything their civilization was or could ever be. Continue reading →
(Boston, MA) The subject of free will vs. determinism is a fun one to debate, a question that has been the bane of my ex-father-in-law’s existence for decades. It also has been well-covered in theatre and movies, including in the play Rosencrantz and Guildenstern are Dead. As this multi-leveled play proves, a play that argues a point must balance storytelling with its agenda to be successful.
Unfortunately, the fine storytelling and performances of Whistler in the Dark’s Recent Tragic Events is marred by gimmicks to drive home the idea that our lives are predestined. The gimmickry, from a sock puppet stand-in for Joyce Carol Oates to some shenanigans that mess with the borders of the play, would be doubly frustrating if it weren’t for the delivery of one of the best acting performances of the year by lead actor Aimee Rose Ranger. Continue reading →
Mary Wollstonecraft Godwin’s understanding of the gravity of creation led to one of the most famous horror tales of all time: Frankenstein. Emily Dendiger posits that this knowledge came from Mary’s own life and relationships in the play Hideous Progeny. Most generations struggle between rebellion and responsibility; the choices we make create the world that we live in. Mary’s future husband, Percy Shelley, speaks of and practices “free love” and ideals, but ignores the monsters he releases. Hideous Progeny haunts Mary Godwin and the audience with the question: do you run away from the monsters or do you face them? Continue reading →