Dramatist Jeffrey Hatcher didn’t become a working adaptor until the mid-1990s. He saw that some of his playwright friends were doing it and he thought: “Why not me?”
Nothing is going to be done about the appearance of the review in the Boston Globe. The reasoning is that, because the newspaper didn’t send its own critic, it hadn’t broken the ban. This is inconsistent and disingenuous.
Surely the lesson of “Pygmalion” is that Eliza should never look back. She doesn’t need to.
This production of “Pygmalion” is also a case study in how an accomplished director –- former Huntington Theatre Company director Nicholas Martin – weaves every part of his team into a seamless whole.
The Williamstown Theatre Festival production of G.B. Shaw’s 100-year-old classic, “Pygmalion” – which only plays nine more performances – delivers an evening of superb theater on all levels.
Two current productions in the Berkshires — “Master Class” and “Hapgood” — feature excellent performances from powerful and accomplished actresses.
Given the Russian writer’s modernist pedigree, should director/playwright Richard Nelson and translators Richard Pevear and Larissa Volokhonsky be punished for putting some “unevenesses” into their staging of Turgenev’s finest play, “A Month in the Country”? I think not.
A 19th-century Russian masterpiece presented in a translation and a production whose mishmash of style distorts the play and confuses both actors and audiences.
Trapped in a cluttered set meant to evoke an abandoned nightclub (with old, upside-down flowerpots? why?), the cast of TEN CENTS A DANCE do little but wander about singing strangely uninspired arrangements of some of America’s best-known songs.
A busy month of theater, especially for off-speed, postmodern romances, while old-timers such as the Gershwins and Tennessee Williams receive some attention as well.