Robert Israel
If John Lahr could learn, even in his eighties, to cut back on his own self-adoration and stop being so damned star struck, the razzle in his profiles would dazzle all the more.
“Kim’s Convenience” offers a genial comic glimpse of an immigrant family’s struggle for dignity and an economic foothold.
The biographer puts far too much emphasis on Sam Shepard’s louche life, neglecting to provide much analysis about the value of his stage work, particularly on whether it will endure.
Shakespeare’s “Macbeth” serves as a springboard for a memorable new vision by these inventive, multimedia theater artists.
A generous serving of what theater critic John Lahr calls playwright John Guare’s “funhouse-mirror reflection of American life’s caprice and chaos in the twentieth and twenty-first centuries.”
Chris Grace invites us to think about mortality with him, to learn something from his stories, and to share a few heartwarming laughs along the way.
Playwright Eboni Booth won last year’s Pulitzer Prize for Drama for this script, and it is a heartwarming, well-constructed, one-act.
“For this season, I did not want us to do a ‘greatest hits.’ I did not want to limp away. This is our last full and robust season, but not our last time producing plays.”
The at times chilling narrative of “The Atomic Bowl” raises probing and vexing questions about why we continue to face the threat of nuclear peril today.
Theater Commentary: Boston Fall Theater Preview — Rinse and Repeat and Repeat and Repeat …
My hunch is that not only theater critics but audiences will find the parade of tried and true tiresome.
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