Ian Thal
Rarely are Boston’s stages graced with a Shakespeare production that reaches this high a level of accomplishment.
With Julius Caesar, Bridge Repertory shows that it can assemble a strong ensemble and put together a memorable sensory experience.
At first, The Submission comes on as an agreeably edgy satire of the automatic embrace of identity politics and political correctness in the academy and popular culture.
Albatross is terrific — a powerful script, vital performance, and imaginative stage design.
Ronan Noone’s allegedly frisky sex farce is bloodless.
The Whole World focuses on the incoherence that lurks underneath the empowering narratives we tell about ourselves.
Tragedy isn’t when evil triumphs, but when good becomes entangled in its own inevitable contradictions.
Actors’ Shakespeare Project’s superb production of God’s Ear honors this beautiful text.
The problem is that John August’s book for the musical lacks most of what made his screenplay for the 2003 film so emotionally resonant for so many.
From The Deep suggests that Boston’s theater community would be better served if it put more of its resources into presenting the work of local literary talent.
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