Theater
“The Whore From Ohio” is a provocative reminder that the same creature that is born to eat, drink, copulate, rot, and die is also a creature that dreams, tells stories, contemplates its own existence, and attends the theater.
British dramatist Caryl Churchill proffers a valuable line of satiric attack on our delusions of doing good, so it is easy to forgive the dramatist her broad and scattershot comic approach.
Unfortunately, there are only flickers of Kurt Vonnegut’s dark and playful genius in “Make Up Your Mind.”
This remains a vision of a dystopian universe, but in the hands of these performers “Waiting for Godot”‘s angst exudes as much antic warmth as it does cold angst.
Refreshingly, playwright Marianna Salzmann manages to be political without being didactic. Her characters live (rather than preach) through history, grappling with the transition from totalitarianism to democracy.
Director Scott Edmiston’s carefully staged production generates sympathy chiefly because of some deft acting rather than the writing.
BTC’s experiment, while not without its faults, proffers an admirable model of the sort of creative thinking that more companies should emulate when placing Shakespearean drama in a contemporary American context.
Stoneham Theatre’s atmospheric staging of Jeffrey Hatcher’s version of “Dr. Jekyll and Mr. Hyde” is a production well worth seeing — it lives up to its billing as “a new look at a horror classic.”
Whenever you hear greeting card bromides intoned with a straight face (it’s usually in scenes set in a hospital) you know that moral fuzziness isn’t far behind.
Actors’ Shakespeare Project’s production is a fine start to the company’s tenth aniversary season and an impressive realization of its founding mission statement — for this company, story and the actor’s craft trump directorial conceits.
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