“Now, there was a time/ when they used to say,
that behind ev’ry great man/ there had to be a great woman.
But oh, in these times of change/ you know that it’s no longer true.
So we’re comin’ out of the kitchen/ ’cause there’s something we forgot to say to you.
We say, Sisters are doin’ it for themselves”
-The Eurythmics with Aretha Franklin, “Sisters Are Doin’ It For Themselves”
(Cambridge, MA) It’s been a good few years for female scientists. Sally Ride came out posthumously in 2012. Hidden Figures rocked the box office in 2016/2017. Dorothy Vaughan, Mary Jackson, Katherine Goble/Johnson and the other human computers are finally receiving their due accolades. Women are entering STEM fields at increasing rates. Local company, Flat Earth Theatre produced Lauren Gunderson’s Silent Sky in March 2017. The Nora Theatre Company is playing The Women Who Mapped the Stars right now. There are many more successes, but it won’t be enough until women and other minorities receive the equal success as men.Continue reading →
Introduction: Below are two pieces in response to The Nora Theatre’s production currently playing at Central Square Theater in Cambridge, MA. First is my critique of the production. The second is an opinionated response from fellow Geek Noelani Kamelamela. I asked Noelani to write a response to the production because representation is important. Three out of four cast members of Proof are Asian-American. This is significant because David Auburn didn’t factor race into his writing process. This means white was his default. No one gets extra credit for treating people of color like human beings. The Nora does get kudos for subverting the racial paradigm.
Review by Kitty Drexel
“In a good proof there is a very high degree of unexpectedness, combined with inevitability and economy. The argument takes so odd and surprising a form; the weapons used seems so childishly simple when compared with the far-reaching consequences; but there is no escape from the conclusions.” – G.H. Hardy, A Mathematician’s Apology
(Cambridge, MA) The stigma around mental illness remains sharp. The Nora Theatre’s production of Proof doesn’t tackle this stigma so much as wait until the audience is pliable and then viciously assault it. It isn’t gentle but it is effective. Continue reading →
(Cambridge, MA) There truly is nothing like the unique experience of theatre. And in Alan Ayckbourn’s Intimate Exchanges, the audience is presented with a choose-your-own-adventure in which no performance is ever identical to the one before. Continue reading →
Presented by The Nora Theatre Company & Underground Railway Theater Adapted by Mary Zimmerman from the translation by Anthony C. Yu of “Hsi Yu Chi” Directed by Lee Mikeska Gardner Choreography by Judith Chaffee Fight choreography by Andrew Moss Composition, Percussion & Music Collaborations by Ryan Meyer
Trigger warnings: gender fluid casting, non-Christian religions that existed before the birth of Christ
(Cambridge, MA) Journey to the West is excellent family theatre. It has joyful storytelling, runs a little long, but delivers an epic myth in child-sized bites. There are bouncing monkeys, kings and queens, educational morals, and integrated behavioral psychology lessons. It has a little something for every intelligent, open-minded liberal. Continue reading →
Review by Kitty Drexel (who could use some saving of her own)
(Cambridge, MA) Marisa Smith has written a very good script. Saving Kitty is so good that, if logistically possible, She should get a second production on its feet ASAP. This is because the Nora Theatre Company’s current production stars Jennifer Coolidge. Coolidge’s well-deserved star power overwhelms Smith’s writing (and the stage). It is inappropriately likely that patrons will remember Ms. Coolidge did a show in Boston that one time. They are less likely to remember whose show it was, what it was about, or who the supporting actors were. That’s a damn shame. Continue reading →