Jan 29

Protest Harder, Longer, Faster: “Hair: The American Tribal Love-Rock Musical”

Cast of Hair. Andrew Brilliant/Brilliant Pictures.

Presented by New Rep Theatre
Book & Lyrics by Gerome Ragni and James Rado
Music by Galt MacDermot
Directed and choreographed by Rachel Bertone
Music direction by Dan Rodriguez
Intimacy direction by Angie Jepson
Dramaturgy by Emily White

Jan 26- Feb 23, 2020
Open Caption services will be provided on Saturday, 2/8 during the 3:00pm performance.
MainStage Theater
Mosesian Center for the Arts
321 Arsenal Street
Watertown, MA 02472
New Rep on Facebook

Content Warning: This production contains strong language, frequent references to sex and illicit substances, and brief nudity. Recommended for ages 18+.

Critique by Kitty Drexel

Watertown, MA —  Hair is the only time I’ve been (purposefully) naked onstage. I have fond memories of performing in Counter-Productions Theatre Company’s Hair in 2010. Getting naked as an expression of civil protest was just one of the perks of joining their cast. Continue reading

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Dec 06

The Joy and Sadness of “Oliver!”

The cast of Oliver! Andrew Brilliant/Brilliant Pictures.

Presented by New Repertory Theatre
Book, Music, and Lyrics by Lionel Bart
Directed and Choreographed by Michael J. Bobbitt
Music Direction by Sariva Goetz

December 2-29, 2019
Mosesian Center for the Arts
Watertown, MA
New Rep on Facebook

Review by Shiyanbade Animashaun

(Watertown, MA) From before this show began, I was in high spirits. En route to the theater, the soundtrack played in my mind. Once at the Mosesian Center for the Arts hall, surrounded by the gorgeous set, I paused – nervous about my ability to give an impartial review. I have fallen in love with and seen the 1968 movie rendition umpteenth times. I did not have much to worry about though, even as I anticipated lines, reacted to choreography or held my breath through differences between the stage version and screenplay. Continue reading

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Nov 05

It’s Moist-city in Here: “X”

The cast; Photo by Jake Scaltreto.

Presented by Flat Earth Theatre
By Alistair McDowall
Directed by Lindsay Eagle
Dramaturgy by Dee Rogers
Violence and Movement Consultant: Sarah Gazdowicz
Scenic Designer: Darren Cornell
Costume Designer: Erica Desautels
Lighting Designer: Connor S. Van Ness
Sound Designer: Kyle Lampe
Special Effects Designer: Lynn Wilcott
Props Designer: Jake Scaltreto
Cast: Cassandra Meyer, David Anderson, Nick Perron, Slava Tchoul, Abigail Erdelatz

Nov. 1 – 16, 2019
The Mosesian Center for the Arts
321 Arsenal Street
Watertown, MA
Flat Earth on Facebook

Critique by Kitty Drexel

Trigger warning: gore, blood, violence, psychological horror

(Watertown, MA) Flat Earth’s production of Alistaire McDowall’s X is a mind fuck. This psychological horror-ballet with dripping blood, broken minds, and sleep deprivation won’t let its audience get away with mindlessly consuming a performance. Then it pounds into you so hard you’ll never forget. Continue reading

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Jul 12

New Rep Theatre Announces Open Captioning for 2019-2020 Season

New Rep header via http://www.newrep.org

New Repertory Theatre
Mosesian Center for the Arts
321 Arsenal Street
Watertown, MA 02472
New Rep on Facebook

Story coverage by Kitty Drexel

(Watertown, MA)  New Repertory Theatre will provide one open captioned performance per each of its six productions during the 2019-2020 season due to a grant from the Theatre Development Fund, said a July 5 press release.

This project is also funded by the National Endowment for the arts, according to the press release. New Rep will offer discounts to those who require open captioned services. Continue reading

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Jun 18

Darkness Eats Unwanted Souls, or The Homeless are Human: “King of Shadows”

Trinidad Ramkissoon and Laura Chowenhill in “King of Shadows.” Photo via Flat Earth’s Facebook page.

Presented by Flat Earth Theatre
By Roberto Aguirre-Sacasa
Directed by Michael Hisamoto
Puppetry by Amy Lehrmitt
Intimacy direction by Betsy S. Goldman

June 7 – 22, 2019
Mosesian Center for the Arts
Watertown, MA
Flat Earth on Facebook

Critique by Kitty Drexel

Disclaimer: I auditioned for this production, and was not cast. It is my opinion that only a jackass would allow rejection, a natural process of auditioning, to taint their review.

Trigger warnings: mentioned sexual abuse, mentioned sex work (which is real work)

(Watertown, MA) There is a lot of ambiguity in Aguirre-Sacasa’s King of Shadows. He doesn’t communicate a clear message to his audience.  Specifically, he doesn’t clarify what it is he’s trying to say. At no fault of Flat Earth, Hisamoto or the cast, Aguirre-Sacasa implies in only uncertain terms that teen homelessness is bad, rich grad students with savior complexes are ineffective, and fairytales are fun. The details are a mishmash of complications. Flat Earth does a good job with the script, but Aguirre-Sacasa isn’t doing them any favors. Continue reading

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Apr 09

The Knocking is Coming from Inside the Cabin: “Macbeth”

Presented by the Underlings Theatre Company
By William Shakespeare
Directed by Daniel Thomas Blackwell
Fight direction by Lauren Squier
Dramaturgy by Isabel Dollar

April 5 – 13, 2019
Mosesian Center for the Arts Blackbox Theater
321 Arsenal St
Watertown, MA
Underlings on Facebook

Critique by Kitty Drexel

(Watertown, MA) There is much to learn from the Underlings production of Macbeth currently open at the Mosesian Center for the Arts in Watertown. The cast and crew took some risks: some of them paid off, others did not. What is most important to glean from this production is that the Underlings boldly proceed towards their artistic goals for Macbeth. Risk taking theatre is by far more laudable than theatre that plays it safe no matter the outcome. Not everyone will agree with the risks that the Underlings took but, at the very least, the Underlings can boast that they performed their version.   Continue reading

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Mar 26

“Not Medea”: Scorned Woman Gets Her Say

Photo by Jake Scaltreto. Who is their right mind double-crosses a half goddess, dark sorceress capable of patricide on a whim? That idiot, Jason.

Presented by Flat Earth Theatre
Written by Allison Gregory
Directed by Elizabeth Yvette Ramirez

March 15 – 30, 2019
The Mosesian Center for the Arts
321 Arsenal Street
Watertown, MA
Flat Earth Theatre on Facebook

Critique by Gillian Daniels

(Watertown, MA)  The myth of Medea is a story of betrayal and fury, where Jason of the Argonauts takes a sorceress wife for material gain and is deeply surprised when she takes her vengeance out on him and their children. Here, the myth of a child-killing witch fits roughly over a more contemporary story of an overworked nurse in pediatric oncology as she takes a night for herself to recount a bitter divorce with humor and then with searing rage. In mainstream culture, the Classical myth of Medea has become known as the story of a mother so cartoonishly evil, it’s difficult to feel the full impact of the horror her narrative contains without exploring each bloody layer. Luckily, the audience of Not Medea has been blessed with both the intimacy of a stripped-down theater experience and the raw passion of actress Juliet Bowler as the titular-woman-who-is-not-Medea-though-she-also-plays-Medea.

Not Medea appears to be a combination of genres, a one-woman show fused with a Classical play, complete with Chorus (Cassandra Meyer). There’s a late reveal that further opens the story into discomfort and parental Hell, but the melodrama keeps the bones of a Greek tragedy by centering a character’s terrible trauma and the wisdom she gains from it. Bowler as the Woman and director Elizabeth Yvette Ramirez make remarkable choices in humanizing a character who’s not a clear-cut heroine.

Bowler, as always, brings grit to her role, and, here, sympathy. She plays Medea and the Woman with the same tumult of anger, lust, and hurt, even if their actions aren’t quite identical. We get the sense of this stressed, tough as nails nurse seeing this play and hating how much she sees herself in it. Certainly, as an audience, we are asked to judge each character presented in the show, like Gene Dante as the heroic Jason with a selfish surfer dude’s dimwitted edge, but we are never made to regard them with the inhumanity and scorn that so many versions of Medea heap on these characters.

I like how brave the play is in addressing the fallibility of mothers. It’s something I’ve been delighted to see in few other shows where women who have children are not portrayed as goddesses or people always able to see the best in their kids, but fallible individuals with their own sources of pain. Yes, facing the imperfection of mothers can be a tough sit, but the way this show explores all the troubles and regrets of motherhood is deeply refreshing.

Even the Chorus seems to have some internal struggles regarding her relationship to the story. Meyer repeatedly nears the end of the stage with fear, unable to leave. She also, memorably, seems furious with the Woman for addressing the audience directly–obviously the Chorus’s job, and a delicious meta moment in the narrative.

Not everything works for me. Playwright Allison Gregory’s makes some distracting choices. The sections of the play that more strictly adhere to the source material often become repetitive, jarring with the contemporary ebb and flow of Not Medea’s other, less Classical scenes. I think there are story elements in the show that would have packed a firmer punch with some careful editing. Also, I found Gregory’s choice in names for the Woman’s offspring just a little too on-the-nose.

Ultimately, the play succeeds in what it seems to set out to do: exploring the layers of a Classical myth with understanding and thought. Like the queen goddess Hera angry at her husband for his many dalliances or the punishment Aphrodite earns for not being loyal to a husband she was made to marry in the first place, popular Greco-Roman mythology has been filtered through a lens that dismisses female anger. Not Medea leans into that fury and, like many Greek tragedies, comes out the other side wiser for it.


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Jan 24

“Heartland,” where the ache lies.

L-R: Shawn K. Jain as Nazrullah and Ken Baltin as Harold; Photography by Christopher McKenzie.

A national new play network rolling world premier
Presented by New Repertory Theatre
Written by Gabriel Jason Dean
Directed by Bridget Kathleen O’Leary

January 12—February 9, 2019
The Dorothy and Charles Mosesian Center for the Arts
321 Arsenal St
Watertown, MA 02472
New Rep on Facebook

Review by Diana Lu

(Watertown, MA) Powerfully written and gorgeously staged, New Rep’s production of Heartland is a true masterpiece. Gabriel Jason Dean deftly transforms his experiences of person tragedy into a poignant and profound meditation of the American body politic, particularly our interventionalist foreign policies in the Middle East. Continue reading

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Dec 07

An Inalienable Right for Some: “1776”

Photo by Andy Brilliant/Brilliant Photography

Presented by New Rep Theatre
Music and lyrics by Sherman Edwards
Book by Peter Stone
Co-directed by Austin Pendleton and Kelli Edwards
Music direction by Todd C. Gordon
Choreography by Kelli Edwards

Nov. 30 – Dec. 30, 2018
Mainstage Theater
Mosesian Center for the Arts
Watertown, MA
New Rep on Facebook

Critique by Kitty Drexel

Trigger warnings: systemic racism, sexism, bracingly tight pleather pants

(Watertown, MA) 1776 is a quirky, innuendo-laced musical about Boston’s part in the US’s bid for independence. New Rep gives us a fun production that is more timely than it is educational. This musical might be based on historical facts but this production brings new momentum to current events. Continue reading

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Oct 23

50 Shades of Complicity: “We Will Not Be Silent”

L to R – Conor Proft and Sarah Oakes Muirhead; Photo by Andy Brilliant/Brilliant Pictures.

Presented by New Repertory Theatre
By David Meyers
Directed by Jim Petosa

October 13—November 4, 2018
The Dorothy and Charles Mosesian Center for the Arts
321 Arsenal St
Watertown, MA 02472
New Rep on Facebook

Review by Diana Lu

(Watertown, MA) We Will Not Be Silent revisits the true story of Sophie (Sarah Oakes Muirhead) and Hans (Conor Proft) Scholl, German student dissidents in Nazi Germany executed for attempting to mount a nonviolent resistance movement in 1942. Post-WWII, Germany vindicated the Scholl siblings and lionized their sacrifice as a symbol of great stoicism and bravery. Continue reading

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