Robert Israel
A generous serving of what theater critic John Lahr calls playwright John Guare’s “funhouse-mirror reflection of American life’s caprice and chaos in the twentieth and twenty-first centuries.”
Chris Grace invites us to think about mortality with him, to learn something from his stories, and to share a few heartwarming laughs along the way.
Playwright Eboni Booth won last year’s Pulitzer Prize for Drama for this script, and it is a heartwarming, well-constructed, one-act.
“For this season, I did not want us to do a ‘greatest hits.’ I did not want to limp away. This is our last full and robust season, but not our last time producing plays.”
The at times chilling narrative of “The Atomic Bowl” raises probing and vexing questions about why we continue to face the threat of nuclear peril today.
Jon Batiste’s performance resonated with what musician Zachary Richard calls the “holy trinity” of Louisiana music: Cajun, zydeco, and “old-fashioned” rock and roll.
“When you collaborate with an audience and other artists, and you let hip hop flow and intertwine, anything goes.”
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.
“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.”
Theater Commentary: Boston Fall Theater Preview — Rinse and Repeat and Repeat and Repeat …
My hunch is that not only theater critics but audiences will find the parade of tried and true tiresome.
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