Theater
The protagonist may necessarily be passive in the face of his or her diminishing mental condition, but art must rage against the dying of the light.
The “Cambridge Jonson” volumes are available online, and the site is a bibliographical joy to behold, Ben Jonson’s plays, poems, masques, and prose arranged in chronological order and in a searchable format.
“House/Divided” – a mélange of dazzling videography, startling and inventive lighting/props/stage craft, and spoken snippets of John Steinbeck’s quasi-Biblical prose – does not add anything new to our understanding of the current national malaise.
Those willing to accept that powerful political theater can be as much about depicting pain as providing hope will find much to admire in this visually striking, dramatically compelling piece.
The singing in the SpeakEasy Stage Company production is strong throughout; it’s easy to get caught up in the sheer pleasure of such a variety of voices.
John Tiffany’s Tony-winning direction of “Once,” restaged for the current tour, is a miracle of judicious rhythmic choices and deft transitions.
“Venus in Fur” could be best described as cheeky rather than kinky, more of a talky intellectual exercise than a zesty exploration of the allure of sexual domination and submission.
The challenges of this musical are to keep things buoyant yet insightful (and with some backbone) about a subject many of us dread, namely work and its drudgery.
If “Henry VIII” is dramatically lacking when compared to Shakespeare’s other histories, what makes this production worthwhile is the care Actors’ Shakespeare Project has brought to staging it.
Fuse Theater critics pick some of the outstanding shows of the past year.
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