(Lowell) We are usually mired in the mundane of everyday, and we can’t see movement in our own internal characters. That’s why we tend to want some movement in the characters we see on stage. In a good play, a protagonist cannot be the same in the end as she was in the beginning; she must at least gain some scars from experience. The rare exception is a script that goes for the meditative study of a character, as if peeling back layers of a soul like an onion. To pull this off, the author must have deep sympathy for both the character and the human condition, and it’s a narrower road to tread. Continue reading →
(Watertown, MA) Art is…well, about art–the styles, philosophies, the impact on the individual. When a person creates a work of art, using quality tools always helps in creating a quality piece (although that’s not to say that there aren’t some interesting works of art made from found objects). Antonio Ocampo-Guzman starts with some of the finest: a brilliant script and a trio of Boston talent. Without any deeper analysis, those are two reasons to see the show. The problem with art, as the play postulates, is that art is subjective and will not necessarily be seen the same through the same lens by each person. Continue reading →
(Boston, MA) Yasmina Reza grabs the audience by the jugular and does not let go for an hour and a half. The evening at the Novak’s house in God of Carnage could easily have a voice-over that says “when people stop being polite… and start getting real.” However, unlike The Real World, Yasmina Reza brings a much more believable situation to its drama than any tv reality show. By taking a situation that anyone can relate to and heightening it to the absurd degree, God of Carnage holds a mirror up to our inner demons and leaves us laughing through the pain. Under the direction of Daniel Goldstein, with a talented cast, and a cleverly constructed set, Huntington Theatre Company’s production of God of Carnage is a “must-see” show of the season.