Theater
An adaptor has to make choices, and this theatrical version of “Invisible Man” focuses on the novel’s most straightforward narrative strand.
In this production, director Piotr Fomenko “wanted to explore whether family happiness is even possible, the fight to keep it and the fear of losing it.”
The Lyric Stage actors and pianist Catherine Stornetta do an excellent job making all of “33 Variations” intelligible and, sometimes, very funny.
When this version of Pippin hits New York, it will be a welcome alternative to the trend among many of the current Broadway musicals to demote dance elements to the background.
Nervous mainstream audiences could breathe easy, the messy cultural ruckus of the ’60s was over: it was ok to find yourself in the suburbs.
Director 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.
Bare 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.
In 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.
Moonbox 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.”
Larry 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.
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