David Greenham
“Summer, 1976” is a cleverly designed snapshot of a deep but fleeting friendship.
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Whatever really happened in those hectic weeks of December 1791, this modern take on the creation of Mozart’s Requiem might well turn out to have classic possibilities of its own.
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The script focuses on the internal struggles that made Eleanor Roosevelt an uncomfortable wife, rather than taking a deeper dive into the moral and progressive vision that made her such an admirable first lady.
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Given all the chaos and violence around us, isn’t it a mite too late for a subtle play like “Our Town” to be considered a “primal scream?”
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Once again, the innovative CST/Catalyst Collaborative@MIT project proves that there are inspiring stories of women’s contributions to science that need to be told.
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It’s likely, the playwright suggests, that Americans are incapable of getting out of their own way long enough to cooperate in ways that do anything about the challenges that we face as a society and a country, let alone the world.
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“The Heron’s Flight” is, in many ways, a hopeful antidote for the fear generated by these difficult times.
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It is entertaining, but Lindsay Joelle’s script supplies only a tiny, sometimes contrived glimpse at a profession that deserves to be treated with more nuance and understanding.
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“Two Strangers (Carry a Cake Across New York)” succeeds as a fun variation on the “buddy” story. The show sometimes ladles on the sugary frosting, but it’s a pretty tasty dessert.
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The beauty of “Jaja’s African Hair Braiding” at this political moment is that it provides a firsthand rebuttal to the current administration’s draconian policies — without ever directly acknowledging them.
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Arts Remembrance: Tribute to Jazz Producer Alex Lemski