Robert Israel
“Kim’s Convenience” offers a genial comic glimpse of an immigrant family’s struggle for dignity and an economic foothold.
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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.
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Shakespeare’s “Macbeth” serves as a springboard for a memorable new vision by these inventive, multimedia theater artists.
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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.”
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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.
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Playwright Eboni Booth won last year’s Pulitzer Prize for Drama for this script, and it is a heartwarming, well-constructed, one-act.
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“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.”
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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.
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Jon Batiste’s performance resonated with what musician Zachary Richard calls the “holy trinity” of Louisiana music: Cajun, zydeco, and “old-fashioned” rock and roll.
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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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