Robert Israel
“When you collaborate with an audience and other artists, and you let hip hop flow and intertwine, anything goes.”
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Still, even with its flaws, this short book is an important contribution to literature by and about atomic bomb survivors because it underlines their indispensable value as witnesses.
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“The MFA is a place that really matters to a lot of people, and it is the safety of this place that matters and its commitment to excellence. These are things that must never be compromised.”
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The emphasis of the B&P troupe has become increasingly apocalyptic: the struggle we are engaged in is for nothing less than the preservation of our planet, and for the preservation of our individual — and collective ––hearts and minds.
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Despite all the Boston Lyric Opera pageantry and talent, “Carousel”‘s trip to the 21st century turns out to be bumpy.
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The Huntington Theatre Company’s production of “Don’t Eat the Mangos” commands attention with its blend of entertainment and enlightenment.
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The sprawling cast — 30-plus players — under Michael Arden’s direction performs with verve; they deliver outstanding performances and have excellent singing chops.
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At its best, this script offers an opportunity for audiences to cast a backward glance at the first stirrings of dramatist Lynn Nottage’s prolific canon.
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Suffice it to say that this film version of “The Piano Lesson” does playwright August Wilson proud.
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Because this “play” relies on audience participation, Vinny DePonto selects inevitably befuddled men and women from the audience on which to demonstrate his mental prowess.
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Arts Remembrance: In Memoriam — Tom Stoppard