Martin Copenhaver
“Wonder” aspires to make us more empathetic and to help us “choose kind.”
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Why was the original production of Merrily We Roll Along such an abysmal failure and how did it turn into a hit? Does the new film succeed in capturing the magic of the hit Broadway revival (and is that even possible)?
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The themes of “Lizard Boy” would land more squarely—and more powerfully—with a teenage audience than they can with those of us who can only recall such a time in our lives.
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The play eventually packs a wallop, but it drags its feet at the start.
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The lush, lyrical, and demanding score is the main attraction, and the excellent Huntington Theatre Company cast is, for the most part, up to the challenge of singing it.
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“The Triumph of Love” lacks the physical comedy and swift action that usually characterize a farce. Here the dialogue is the action.
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“A Man of No Importance” is a fitting finale for Paul Daigneault’s tenure as Artistic Director of SpeakEasy Stage Company because it is a paean to the power of theater as both an artistic expression and a place to discover community.
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A story of divorce and self-discovery may be worth telling, but it suffers when it is interwoven with a life narrative that is clearly weighter.
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Tony winning playwright Joe DiPietro does a commendable job of dramatizing the true-life confrontation between Margaret Chase Smith and Joseph McCarthy while they were both serving in the United States Senate.
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Holiday Commentary: Making Room for the Stranger
Sometimes the stranger is someone who is very well known to us, like a father whose strange ways include a devotion to a certain story about a childhood in Wales.
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