Bill Marx
The Peculiar Patriot may say it is about making us feel the human price of mass incarceration in America, but there is more than a little True Romance in the mix.
Taylor Mac and Pirandello share the same goal: reveal the deadening vacuity at the heart of bourgeois society and the male ego.
Eleanor Burgess’ The Niceties is an articulate, if structurally crabbed, expression of #blacklivesmatter anger as well as a millennial rebel yell.
The Beau Jest Moving Theater staging succeeds at conjuring up the genially comic spirit of the late Larry Coen, a bounteously talented actor and director.
In what ways are the arts themselves (and our understanding of them) being shaped to serve the ethos of corporate profit-making?
Three theaters in the Berkshires offer differing views of the past.
Will working with audiences encourage stage companies and theater artists to go beyond the status quo? Or just cement them into their sweet spots?
Diverting the resources of Boston’s regional theaters into the casino of Broadway undercuts the ideals that launched the regional theater movement.
This Midsummer Night’s Dream is a pleasant enough entertainment that is helped mightily by the bucolic waterfront setting.
Book Commentary: Karl Ove Knausgaard’s “Why I Write” — Incomplete Answer
The old questions, good as they are, are going to be augmented with new ones: Are we creating a world worth living in? Are we creating a world we can continue to live in?
Read More about Book Commentary: Karl Ove Knausgaard’s “Why I Write” — Incomplete Answer