David Greenham
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.
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.
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?”
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.
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.
“The Heron’s Flight” is, in many ways, a hopeful antidote for the fear generated by these difficult times.
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.
“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.
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.
Ace performances help make Night Side Songs a rich and moving experience, compounded by the fact that it is valuable to be in a room full of empathy and love in these trying times.
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