(Boston, MA) Funny is a funny thing. You can be mean and be funny. You can shock and be funny. You can do knock-knock jokes and be funny, at least to a five-year old. Or you can just be super-talented, a bit caustic and kind of weird and be funny. Tomáš Kubínek has chosen the last option to deliver a memorable and nicely brief one-man show for ArtsEmerson at the Paramount Theatre. Continue reading →
“Call me Ishmael,” performer Conor Lovett begins casually.
His hour and forty-five minute monologue makes up the whole of the Gare St. Lazare Players’ adaptation of Moby Dick. The way Lovett relates the story based on Herman Melville’s novel is restrained and often timid, however. His Ishmael is a lost soul, marked by events he’s still struggling to parse. Continue reading →
(Lowell, MA) There is an inherent problem in the study of classic poetry. Most of what is deemed worthwhile to scholars are works that tend to be genre defying and broke the conventions of the times they were written in. However, when a poet’s collection becomes so widely revered, scholars tend to set them as the new template for the system that the writer had originally broken through. This leads to the poems losing much of their edge and therefore becoming mundane to modern audiences. There is possibly no bigger victim of this “catch-22” than west coast born, New England based poet Robert Frost, and there is possibly no better cure for this academic sickness than a play like This Verse Business. Continue reading →