Martin Copenhaver
Jonathan Spector’s successful satire finds biting comedy—and uneasy truth—in the limits of well-meaning consensus.
In this high-energy comedy of creative frustration, history—and hubris—repeat themselves to hilarious effect.
The true star of the Lyric Stage production is Aimee Doherty, who is marvelous in the role of Penelope.
“Wonder” aspires to make us more empathetic and to help us “choose kind.”
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)?
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.
The play eventually packs a wallop, but it drags its feet at the start.
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.
“The Triumph of Love” lacks the physical comedy and swift action that usually characterize a farce. Here the dialogue is the action.
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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