Mint Theater Company’s choice to revive Days to Come is more intriguing than Lillian Hellman’s muddled play.
Amir Nizar Zuabi’s engaging drama is a hopeful testament to communication and forgiveness.
Our theater critics pick some of the outstanding productions of a year truncated by COVID-19.
Why are Boston stages reacting so serenely to our current miasmas — pandemical, political, economic, and spiritual.
A 50th anniversary is a wonderful milestone, and I congratulate the Revels for looking back and huzzahing the occasion as they have.
Ma Rainey’s Black Bottom is a stellar artistic accomplishment, a blazingly powerful dramatic experience.
One of Vasily Petrenko’s most successful Elgar releases; there’s an edge to the Crouch End Festival Chorus’ performance of Britten’s Saint Nicolas ; Quartetto di Cremona’s new album is nothing if not overflowing with Mediterranean personality
In this innovative series, the Huntington Theatre Company has charged 11 local playwrights to imagine a future vision of Boston, post-pandemic, when “we can once again meet and connect in our city.”
Peter Wortsman has made a valuable contribution with this play; it is a rare theatrical account about how living through the Holocaust shaped survivors.
Hub Theatre’s virtual production of Much Ado About Nothing recognizes Zoom’s potential for farce and leans into it: this is a rollicking delight of a show that refuses to take itself seriously, to everyone’s benefit.