Jim Kates

Theater Review: A Fresh Take on GBS’s “Pygmalion”

August 4, 2016
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The staging is a brash translation of Shaw’s early twentieth-century delicacy into twenty-first century Yankee sensibilities.

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Fuse Theater Review: “Vanya and Sonia and Masha and Spike” — A Playful Play on Chekhov

July 22, 2016
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Vanya and Sonia and Masha and Spike goes on about a half hour too long, but the quality of the acting overcomes the longueurs.

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Theater Review: “Annapurna” — A Trip Worth Taking

July 7, 2016
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A two-person engagement like Annapurna demands that mysterious quality from actors that we call “chemistry.”

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Theater Review: “Driving Miss Daisy” — Bypassing the Deeper Resonance

June 24, 2016
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This production of Driving Miss Daisy isn’t about conflict and irresolution, but sentimental reassurance.

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Theater Review: From Page to Stage — Shakespeare’s “The Rape of Lucrece”

September 10, 2015
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Dan Hodge turns two hundred and fifty stanzas of Shakespeare’s rhyme royal into the stuff of a high-class poetry slam.

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Theater Review: Peterborough Players’ “Born Yesterday” — The More Things Change …

August 13, 2015
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Writing seriously about a play that might not be meant to be taken so seriously presents a risk, but the provocation embedded in the social message of Born Yesterday can’t be escaped.

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Theater Review: “Charley’s Aunt” — A Tasty Theatrical Chestnut

July 30, 2015
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This production of Charley’s Aunt has the rhythm of a Mozart operatic finale — all the parts contribute to a dizzy harmony.

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Theater Review: “Outside Mullingar” — A Poignant Irish Rom Com

July 16, 2015
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John Patrick Shanley’s Outside Mullingar is a romantic comedy, so you can guess the dénouement, but all the fun is in getting there.

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Fuse Theater Review: “Intimate Exchanges” — A Comedy of Possibilities

July 2, 2015
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In many ways, Alan Ayckbourn in Intimate Exchanges has concocted the perfect recipe for a company like the Peterborough Players.

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Fuse Theater Review: An Uneven “Red” from the Peterborough Players

June 18, 2015
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There is little for the audience to take away from Red, except the anecdotal dramatization of an event inspired by Mark Rothko’s career.

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