Apr 10

“Far Away” is Close to Home

Presented by Whistler in the Dark
by Caryl Churchill
Directed by Meg Taintor

April 3-19, 2014
The Charlestown Working Theatre
Charlestown, MA
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Review by Gillian Daniels

One of the most terrifying things about dictatorships, dystopias, and police states are how they turn what is savage and ridiculous into what is mundane and even acceptable.  Blood doesn’t flow on stage at any point during Whistler in the Dark’s production of Far Away.  No one pulls out a gun or stabs another character to prove a point.  With the power of playwright Caryl Churchill’s words and Meg Taintor’s direction, they don’t need to. Fear  lay heavily over the show already; we don’t need any clearer sign things are uncertain and wrong. Continue reading

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Jan 15

“Vinegar Tom”: A Deceptively Timely Play

Photo credit: Whistler in the Dark; This show contains material that may trigger PTSD  - please try to see it anyway.

Photo credit: Whistler in the Dark; This show contains material that may trigger PTSD – please try to see it anyway.

presented by Whistler in the Dark Theatre
Vinegar Tom is presented by special arrangement with Samuel French, Inc.

by Caryl Churchill

directed by Mac Young
songs composed by Molly Allis, Juliet Olivier & Veronica Barron
music Composed and Performed by: Veronica Barron & Tony Leva
lyrics by Caryl Churchill

January 11th-February 2nd
The Calderwood Pavilion at the BCA
539 Tremont Street, Boston, MA 02116
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Review by Gillian Daniels

TRIGGER WARNING

(Boston) Historical fiction is often said to reflect the era in which it’s written rather than the era it’s written about.  Caryl Churchill’s Vinegar Tom, originally performed in 1976, mirrors the growing awareness of feminism.  In 1600’s England, a group of women deal with being unmarried, unrepresented, and unwanted. The result is a play that’s appropriately bleak.

Vinegar Tom begins with Alice, portrayed by the excellent but often subtle Becca A. Lewis.  Lewis playfully drives the show as a young woman with a feather-light conscience despite having an infant son out of wedlock.  Her performance is credible not as a woman anachronistically independent or “ahead of her time,” but as someone who wants to marry and live on her own terms.  She is aided by her mother, Joan (Karin Webb), who is largely dismissed and derided by their town as an old hag. Continue reading

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