Robert Israel
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.”
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.
Despite all the Boston Lyric Opera pageantry and talent, “Carousel”‘s trip to the 21st century turns out to be bumpy.
The Huntington Theatre Company’s production of “Don’t Eat the Mangos” commands attention with its blend of entertainment and enlightenment.
The sprawling cast — 30-plus players — under Michael Arden’s direction performs with verve; they deliver outstanding performances and have excellent singing chops.
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.
Suffice it to say that this film version of “The Piano Lesson” does playwright August Wilson proud.
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.
“Modern dance is not a secret club. Yes, we are presenting masterpieces by a visionary 20th century artist, but we are communicating that through the greatest dancers today, and showing how that work continues to evolve.”
Stage Commentary: Where’s the Fire? Boston Theater’s Cautious Return to Relevance