Shakespeare at Viola’s feet. Photo by Nile Hawver/Nile Scott Shots
Presented by SpeakEasy Stage Co. Based on the screenplay by Mac Norman & Tom Stoppard Adapted for the stage by Lee Hall Directed by Scott Edmiston Original music/music direction/sound design by David Reiffel Choreography/period movement by Judith Chaffee Fight direction by Ted Hewlett
(Boston, MA) SpeakEasy’s production of Shakespeare in Love is okay. People who loved the movie will get a lot out of attending. Anyone expecting a revelatory experience from their theatre will be disappointed. Aside from the lighting design by Karen Perlow (which made Jennifer Ellis look like a gilded angel floating down from Heaven, and the set look like a theatre in a night forest) and the compositions by David Reiffel, this production is good but unremarkable. Continue reading →
(Boston) The Real Thing reminds us that mature, adult relationships are back breaking, hard work. Henry (Bob Mussett) is a playwright using his real life as fodder for his scripts. He’s having an affair with Annie (Courtland Jones), an actress and activist, for whom they’ve both divorced their spouses. In this play, Henry and Annie grow out of their patterns of selfish, abusive neglect and into a mature partnership. Henry and Annie barely survive with their sanity intact. Continue reading →
Presented by Hub Theatre Company of Boston
by Adam Long, Daniel Singer and Jess Winfield
Directed by Lauren Elias
July 18 – August 2, 2014 Club Café
209 Columbus Ave
Review by Gillian Daniels
(Boston) The working hypothesis for The Complete Works of William Shakespeare (Abridged) appears to be this: when at his most serious, the Bard is the most unintentionally hilarious. It’s darkly comic, in a way, that a pair of lovers would die passionately together despite knowing each other for a few days. And there’s something ridiculous about a prince putting off the assassination of the uncle who stole his crown because he doesn’t believe the ghost of his father. In Hub Theatre Company’s take on the parody, Patrick Curran, Adam Lauver (alternating with Will Moore), and Brooks Reeves seek to both compress and skewer Shakespeare’s body of work. Continue reading →
(Somerville) So, weird thing about Rosencrantz and Guildenstern are Dead, it makes Beckett slightly more palatable and Shakespeare slightly less.
Stoppard’s play riffing on Beckett’s infamous Waiting for Godot is, on the surface, a glance at what’s going on behind the wings during the course of the greatest play ever written in the English language. If we begin to look at life as Stoppard’s head tragedian does (that is a world in which every exit is an entrance somewhere else), we begin to see how this Hamlet fan-fic took shape. Take Gogo and Didi, slap them into some verse poetry, give them tabards and a letter to the English King and wha-bam; there’s Stoppard’s piece. Continue reading →
ROSENCRANTZ & GUILDENSTERN ARE DEAD AGAIN! Theatre@First celebrates 10th Anniversary with a return to Stoppard’s masterwork
Theatre@First kicks off their second decade of providing local audiences with superlative live theatre at affordable prices with Rosencrantz and Guildenstern Are Dead at the Davis Square Theatre, April 4-12.
In 2004, a small group decided to put on a show in a church basement in Davis Square. That show was Rosencrantz and Guildenstern Are Dead and that group has become Theatre@First, Somerville’s own community theatre. Now founding Artistic Director Elizabeth Hunter returns to the beginning with a new production of Rosencrantz and Guildenstern Are Dead.
Tom Stoppard’s Tony Award-winning script focuses on two minor characters from Shakespeare’s Hamlet, imagining their confusion at being caught up in the tragic plot. Full of some of the greatest wordplay in English drama, Rosencrantz and Guildenstern Are Dead examines the meaning of death and the questions of life from an absurdist perspective that leaves audiences laughing at their own folly and gasping at the truths revealed.
For tickets and more information about Rosencrantz and Guildenstern Are Dead and Theatre@First, visit www.theatreatfirst.org.
PERFORMANCE SCHEDULE 7pm evening shows: 4pm matinee shows:
Friday April 4 Saturday April 5
Sunday April 6 Saturday April 12
Wednesday April 9
Thursday April 10
Friday April 11
PERFORMANCE SPACE Davis Square Theatre
255 Elm St, Somerville
Wheelchair accessible space
TICKETS: $20 for adults
$15 for students/seniors.
brownpapertickets.com & goldstar.com
Group discounts available.
(Cambridge) If you enjoy rock legends such as The Doors, The Velvet Underground, or Pink Floyd (Sid Barrett) with a dollop of political science philosophy, Rock ‘n’ Roll is for you. If not, I suggest skipping this heady production by The Longwood Players. There is a lot to value here but the cerebral participation necessary to enjoy Tom Stoppard’s work may overwhelm the audience goer expecting a lighter devotional to Rock. Continue reading →
(Chelsea, MA) In a twist on Shakespeare in the Park, the Apollinaire Theatre Company has chosen to perform a free production of Tom Stoppard’s Rosencrantz and Guildenstern Are Dead during the most gorgeous time of year. Each act is in a different location through out Mary O’Malley Park with the audience following the actors during intermission. The sunset, view of the river, docks, mural, and brilliant staging make a surprisingly fitting backdrop for Stoppard’s clever script. Continue reading →
(Salem, MA) Much ink has been devoted to the subject of infidelity and romantic betrayal. Whether in songs, books, or plays, it’s a well-worn trope. Tom Stoppard recognizes this early on in The Real Thing, establishes that it’s a literary convention in the first scene, and spends the rest of the play dissecting what it really means to the characters. Continue reading →
Bad Habit Productions avoids pretension as it follows the serpentine path of thought from enlightenment to romance. The witty exchanges bounce from the actors’ tongues to all four walls of the theatre. The characters learn that the journey is more important than the definition of terms. The production dances with little hesitation through the rhythmical patterns of Stoppard’s language. Continue reading →