Robert Israel
This is a well-honed, mostly successful script about the difficulties of making human connections — a drama about seizing the day.
The script is an experiment, a (sometimes) witty lecture on language. But it doesn’t work dramatically.
Is it possible for an outstanding actress to achieve similar heights as a playwright? The answer is yes, but with reservations.
“I believe folks coming to the theater will have a great time, they’ll learn about the Negro leagues and about a phenomenal woman.”
“We ask them to interpret the music through their own experiences, so they are connecting to and performing what Mr. Ailey called ‘blood memories’ on stage.”
“Auschwitz: Not Long Ago. Not Far Away.” is compelling, but its message feels hermetically sealed — the exhibit needs to draw crucial connections with what is going on now.
In terms of the joy that theater can provide, this Speakeasy Stage production sets the bar high.
Dramatist Lloyd Suh takes us on an inner journey by weaving silences into his script that encourage his characters (and us) to reflect and pause.
The “new” version of the Blue Man Group is all mayhem, all the time.
“Prayer for the French Republic” is of interest because it raises significant questions about faith during a hate-filled time.
Stage Commentary: Where’s the Fire? Boston Theater’s Cautious Return to Relevance