Theater
This 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.
Despite 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.
Cut 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.
The 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.
The Druid, one of Ireland’s most celebrated stage companies, undertook the project to celebrate Tom Murphy’s work and to make the case for him as one of the world’s leading living playwrights.
The Huntington Theatre Company is hosting an exemplary revival of Harold Pinter’s fascinating 1978 work, thanks to the spot-on direction of Maria Aitken.
Director Meg Taintor’s demands on her five young actors – three women and two men — are very high, requiring not only daring, but physical stamina and skill, dance training, mime training, fight training, and musicianship as well as dramatic power.
“Guys and Dolls” is like a baseball team with a five-run lead in the ninth. It’s yours to lose. If you put together a talented, versatile cast with this material, you almost certainly will produce a winner.
Ingeborg Bachmann wanted freedom for them both. She says in her letter, “I am free and I am lost in this freedom.” Dominique Frot is a brave actress. She presents the poet’s freedom in her body and voice.
Playwright Gericke-Schönhagen, hoping to avoid the phenomenon of talking heads, deliberately placed emphasis on those letters between Voltaire and Frederick that dramatized personalities rather than ideas.
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