Jun 28

Spider Cult’s Tangled Webs of B-Movie Burlesque Pastiche

The Sweethearts via their website www.theslaughterhousesweethearts.com/

The Sweethearts, photo via their website www.theslaughterhousesweethearts.com/

Presented by Jade Sylvan and Fem Bones
Starring the Slaughterhouse Sweethearts
Created by Jade Sylvan (playwright & producer) Fem Bones (creator, director, & choreographer), Catherine Capozzi (composer, guitarist, & band leader)

June 24 at 6:30PM, 10PM
June 26 at 5PM, 8:30PM
The Oberon
Cambridge, MA
Spider Cult: The Musical Facebook Page
Spider Cult: The Musical Soundtrack

By Gillian Daniels

(Cambridge, MA) Spider Cult: The Musical is deep fried pulp, beer-battered in burlesque and costume blood. This is a certain kind of creepy, specifically a Boston kind, certainly my kind. The choreographed fight scenes and blood shed are as enthusiastic as the stripping. While the plot didn’t need to be anything other than be a skeleton on which one could hang a few themed, stylish burlesque routines, Jade Sylvan and Fem Bones gives us violence, pathos, and insight into human relationships—a many-legged beast of a story. Continue reading

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Jan 11

HYSTERIA: the naked women in Freud’s closet

Hysteria, or Fragments of an Analysis of a Obsessional Neurosis by Terry Johnson, The NoraTheatre Company, Central Square Theater, 1/6/11-1/30/11.  Nudity and mature themes.  http://www.centralsquaretheater.org/season/10-11/hysteria.html

Reviewed by Becca Kidwell

Freudian analysis?  A dream of Dali?  Too much spicy food?  These are questions the audience might ask while watching Hysteria.  Using the real meeting between Freud and Dali as a starting point, Johnson’s play moves from farce to surrealism to nothingness.  The Nora Theatre Company makes this strange journey palatable and pleasurable and  masks the flaws of the script.

The exaggerated perspective of the set, Freud’s study, immediately tells the audience that something peculiar is going to happen.  As the play unfolds, Janie E. Howland’s surrealistic set design matches the frenetic energy that is sent forth from the actors.  No one questions the absurdity of the situations that take place because the cast commit fully to the roles that they play.  Richard Sneed, as Freud, tries to hold the world together as it keeps trying to spiral out-of-control.  His warm-fatherly nature combined with Freud’s philosophies moves the audience from sympathy for a dying man to anger at an intractable man that will not even admit the possibility that he might have erred. Continue reading

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