Martin Copenhaver
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.
“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.
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.
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.
The creators of “Gatsby” have fashioned some inventive ways to make the story seem more contemporary. None of that, however, seems enough to justify the enormous amount of energy and talent that was expended in this production.
The excellent ensemble of Huntington Theatre Company actors, fittingly, work well as a team.
Saxophonist Gregory Groover Jr, was not initially drawn to spirituals. In fact, as a young person, he found them frightening.
Critical to the success of “Cost of Living” is playwright Martyna Majok’s refusal to resort to tropes about people with disabilities and those who care for them.
The energizing force of this production comes from the students and, more specifically, the cohort of young women in the cast, each of whom is excellent.
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