Bill Marx
Dramatist Theresa Rebeck’s updated version of Ibsen’s play strengthens one key aspect of A Doll’s House—its picture of savage incomprehension between man and woman, which drives Ibsen’s call for independence and self-respect in a society that rewards complacency, greed, and childish role-playing. DollHouse by Theresa Rebeck. Based on A Doll’s House by Henrik Ibsen. Directed…
Though it ends on an image of uneasy forgiveness, Ajax revolves around a worm hole of irrationality – Athena takes extreme actions and makes uncompromising demands but still insists on the “balance” of the gods
An exciting month, and that isn’t hyperbole. A couple of North American premieres: a futuristic opera from MIT’s Tod Machover and poet Robert Pinsky and a drama tweaking The New Testament from Howard Brenton. Toss in iconic director Peter Brook staging Beckett, F. Murray Abraham as Shylock, and Car Talk:The Musical and you are talking about taking out the smelling salts
The March Arts Fuse Preview Newsletter is out, bursting with news of the magazine’s impressive growth, future plans, and, of course, invitations to support (via tax deductible donations) this vital cultural enterprise by becoming a member.
Two recent productions of Shakespeare, one a heralded London staging at the Donmar Warehous heading to New York in April, the other an Actors’ Shakespeare Project presentation in Davis Square, provide examples of the strengths and weaknesses of tackling the Bard without frills.
It’s the 200th birthday of Franz Liszt, and there are concerts, conferences, and projects devoted to the pianist/composer going on all over the world this year. Lisztomania at New England Conservatory is one of a number of parties in the Boston area. The Boston Conservatory is also puttin’ on the Liszt. By Bill Marx In…
As long as the wizardly spell of dramatist Mark O’Rowe’s creative versification stays strong, Terminus holds you firmly in its slip-slimy grip. The nimble verse is rappy and snappy, a sort of slangy, obscene, sing-song rhyme (with some breath-taking vocal syncopation) that accentuates rather than undercuts the dark doings of the play, at least for…
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