The Tony accolades bestowed upon A Gentleman’s Guide to Love and Murder, will no doubt assure Darko Tresnjak’s future on Broadway.
Women are the dominant force in “Amaluna.” They command the evening’s whirligig of a stage as aerialists, clowns, musicians, dancers, and contortionists.
“Abe Lincoln’s Piano” does not evoke in us the same sense of astonishment that Hershey Felder feels toward his antiquarian discoveries.
Pianist, actor, director and consummate storyteller Hershey Felder returns to Boston in a one-man show entitled Abe Lincoln’s Piano.
The late Nicholas Martin — an ebullient, mirthful spirit.
What makes “The Wholehearted” compelling is how it examines the metaphor of fighting as both a pubic career and as an aspect of domestic violence.
All the prancing about onstage with planks of wood, actors climbing into eight-foot large puppet skeletons, is marvelous to behold, but it makes for an uneven, confusing production.
“House/Divided” – a mélange of dazzling videography, startling and inventive lighting/props/stage craft, and spoken snippets of John Steinbeck’s quasi-Biblical prose – does not add anything new to our understanding of the current national malaise.
The challenges of this musical are to keep things buoyant yet insightful (and with some backbone) about a subject many of us dread, namely work and its drudgery.
This expansive biography of Ted Williams is not awash in sentimentally, thanks to Ben Bradlee’s praiseworthy search for the facts, no matter where they lead, and his command of language, honed during his 25-year career as a reporter and editor at “The Boston Globe.”