Robert Israel
Scott Edmiston’s sharply acted Lyric Stage revival of Arthur Miller’s 1947 drama reveals the moral rot lurking beneath postwar suburban prosperity—and its unsettling relevance today.
At the New Museum, “I Am Tony” turns film, music, violence, memory, and Black creativity into a searing visual reckoning.
At the Koussevitzky Music Shed, two generations of artists joined forces in a rousing concert of gospel, rock, resistance, and solidarity.
It Will Come Back to You’s intricate, puzzle-like narratives shine—except when insider gossip gets in the way.
SpeakEasy Stage’s musically rich production grips with its performances, even as the drama struggles to fully deepen its tale of a crisis at sea.
Book Review: In Search of Clarity and Love — Albert Camus’s Notebooks Chronicle the Making of a Mind
Albert Camus’ notebooks shed light on the painstaking efforts of a major 20th-century writer to archive his thoughts — his struggle to make his vision clear, his prose lucid.
“Achieving some sort of balance is key; to capture the heart and soul of who we are, and to present that on our stages, so that we continually challenge audiences and surprise ourselves.”
What Allegra Goodman’s stories serve up could be called a vision of Jewish American Life Lite.
Joshua Harmon’s play offers numerous instances of familial turbulence, moments of rhapsodic relief and — to avoid spoilers — revelations of how guilt and hostility fuse to create irreparable fissures in the family dynamic.
Stage Commentary: Where’s the Fire? Boston Theater’s Cautious Return to Relevance
After a year of safe revivals and recycled material, companies hint at change—but caution, celebrity casting, and déjà vu still dominate the lineup.
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