Erik Nikander
Leigh Barrett’s staging reflects a clear-eyed understanding of the power of the material’s simplicity, which makes The Last Five Years an exceptional musical experience: thought-provoking as well as captivating.
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Audiences who are open to a show that provides both riotous comedy and bracing truths will find plenty to think about in this deconstruction of one of the Bard’s most problematic problem plays.
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The conversation between Ravi and his mother is funny, engaging, and often illuminating; their real life bond is palpable as the pair try to reconcile the young man’s hopes and dreams with his Indian heritage.
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Hub Theatre’s virtual production of Much Ado About Nothing recognizes Zoom’s potential for farce and leans into it: this is a rollicking delight of a show that refuses to take itself seriously, to everyone’s benefit.
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There’s much to admire and appreciate about this MRT production; but the play’s lack of a solid dramatic spine is a crippling problem.
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The Arts Fuse Mentorship Program invites high school students from diverse backgrounds (in this go around from Somerville High School) to team-up with Arts Fuse critics.
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Our theater critics pick some of the outstanding productions of the year.
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Director Igor Golyak takes major chances in presenting a version of The Seagull that’s self-consciously about The Seagull. And they pay off.
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A script with this many characters buzzing about demands a strong cast — fortunately, Hub Theatre’s terrific ensemble is more than up to the task.
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At its best, Tiny Beautiful Things delves deep into demanding emotional territory without becoming sappy or maudlin.
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Music Commentary: New Orleans Jazz and Heritage Fest versus French Quarter Fest