Theater
Despite its aura of “Gidget Goes Hawaiian,” and the profusion of cute props like rubber duckies and ukeleles, The Hypocrites’ production is smart enough not to mess (too much) with the original score and lyrics.
Read MoreThe Zeitgeist Stage Company provocatively lives up to its name by taking audiences into the netherworld of horrific violence via a powerful production of Simon Stephens’ drama “Punk Rock.”
Read MoreSomething emotional (perhaps even passionate) whirls underneath the well-worn modernist pieties of “Old-Fashioned Prostitutes,” though not to the point of disrupting the daffy routine.
Read MoreSimultaneously storyteller and player, ancient character and modern respondent, Denis O’Hare’s performance of “An Iliad” elicits the kind of respect automatically granted this genre of demanding monologual performance.
Read More“She Kills Monsters” provides a constant stream of creative, amusing, and outrageous moments.
Read MoreBut if a dramatist butchers everything – what will can be put in its place? In the case of “M” it is nothing; nothing I can see or understand.
Read More“By the Way, Meet Vera Stark” suggests the dismissive attitude the public has toward African American actors, but the script doesn’t go far enough to make its title character three-dimensional.
Read MoreThe chief glory of the Lyric Stage production: an ensemble of eight actors that agilely accents the humor dramatist Lynn Nottage utilizes to temper her examination of the darker racial and political subtexts of the period.
Read MoreBianco Amato is a marvel as Anton Chekov’s widow, Olga Knipper, who can turn her fake emotions on a ruble.
Read More
Arts Commentary: Rich in Creativity — But Nothing Else