Bill Marx
The proceedings are continually involving, each of the performers supplying sufficient dramatic weight and interacting as a credible ensemble of characters rather than caricatures.
“Rhinoceros” is a powerful wake-up call that, whether we like it nor not, we are writhing on the horns of a dilemma.
Keiko Green’s play about the end of the world is a robust vaudevillian entertainment.
Director Tony Estrella’s version of Ibsen’s tragedy smooths out an energetic path — the action moves along with compelling alacrity.
“Job” is not so much a game of cat-and-mouse as a highly pressurized coffee klatch.
Two versions of “Hedda Gabler” — one gratifying, the other gauche.
The Berkshire Theatre Group production of “Metamorphoses” is consistently engaging and, at times, deeply powerful.
The Front Porch Arts Collective’s engaging revival of Katori Hall’s drama comes at a propitious time.
“If my work does have a recurrent theme, it is the pressure of the political/historical moment on individual choice.”
What has made for a successful life in the theater? Living by the values Vincent Murphy imbibed as a member of Boston Children’s Theatre in the ’60s: “cooperation, creativity, listening, and play.”
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