Bill Marx
At its best, Lauren Yee’s vibrant play with music offers a compelling exploration of survivor guilt, the urge for revenge, the deforming power of the past, and the impossibility of finding justice for crimes against humanity.
Evaluated as an empathy workout, Trayf never asks us to break a sweat.
Arts Fuse critics select the best in film, dance, visual art, theater, music, and author events for the coming weeks.
Much ado about nihilism.
Listening to the dead speak, amid the natural grandeur of Mount Auburn Cemetery, is a moving experience.
David Gow’s earnest, intelligent drama about the fragility of identity, though somewhat glibly reassuring, generates powerful moments in this bare-bones production from the Acropolis Stage Company.
But this is an American musical, so political content (and blame for the way things are) must be kept fuzzy, a strategically-calculated myopia.
In this always compelling production, director Carey Perloff decided to bring the uncanny on stage, almost as a sixth character, in the form of composer/musician David Coulter.
“There’s a giant chip on the shoulder of those who love musics of the world when it comes to klezmer.”
Cultural Commentary: Arts Criticism — An Embarrassment of Whiteness
Can anyone — with a straight face — argue that our largely white critical contingent in Boston is interested in generating hard hitting debate, controversy, and unconventional ideas?
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