The play’s disparate elements have been blended into a riveting drama, energetically directed by Lisa Rothe, and nimbly performed by Joel de la Fuente.
Edward Albee’s provocative theatrical exercise is far trickier to realize onstage than it is to appreciate on paper.
I’m impressed with the new adaptation and depressed that it’s considered necessary.
Becoming is a contemporary woman’s adventure told by an intelligent, funny narrator who took a leap out of her comfort zone and came out of it, with her family intact, to tell the tale.
The Barefoot Woman is lyrical but also informative and ethnographic, as much a memoir of a mother as it is of her way of life.
I was excited, moved, impressed, and surprised by Handel & Haydn Society’s performance of The Messiah under the exacting baton of Bernard Labadie.
Every performance of opera should leave an audience so exhilarated.
Claire Tomalin narrates her story with a prototypically English stiff upper lip, and a reticence about the personal.
This is a first-rate production of a true American classic.
This slender memoir reads like a rambling conversation with a literary stranger you meet on a train.