Theater
Nervous mainstream audiences could breathe easy, the messy cultural ruckus of the ’60s was over: it was ok to find yourself in the suburbs.
Read MoreDirector Guy Ben-Aharon is on a roll. Working through Israeli Stage and German Stage, he has brought together another smart, compelling foreign play (an American premiere) and a first-rate cast.
Read MoreBare bones, determinedly unhokey, and intimate, director David Cromer’s matter-of-fact approach does away with the irritatingly self-conscious fussiness that afflicts so many productions.
Read MoreIn Memphis, the risqué exhilaration of early rhythm and blues is airbrushed away, to the point that the show appears to argue that from its inception black music sold out to mainstream tastes.
Read MoreMoonbox Productions, one of the small theater troupes that bubbles with new talent from the Boston area, has mounted an affecting production of “Of Mice and Men.”
Read MoreLarry Coen directs “Chinglish”’s awkwardly written romance with a savory earnestness, but he can’t put the pieces of the fragmented script (you laugh/you cry) together.
Read MoreThis version of “La Belle et la Bête” never commits to a through-line about how its metaphors and rich visual imagery are supposed to operate.
Read MoreDespite being a staged reading with scripts still in hand, the members of the Israeli Stage ensemble were already comfortably inhabiting their roles, striking just the right balance between the tragic and comic dimensions of their characters.
Read MoreCut out of translucent and colored ox or donkey hide (sorry, PETA), they are foot and a half tall, two-dimensional figures operated by rods set up behind a slightly canted screen.
Read MoreThe shallowness of Lee Blessing’s approach to this sad (if noisy) period in the history of our nation’s lack of support for the arts overlooks the victory won by the conservatives.
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Arts Commentary: Rich in Creativity — But Nothing Else