Theater
“Rounding Third” flounders most when it tries to get serious. Luckily, it doesn’t try very hard, and delivers considerable amusement.
Read MoreAs Louis Armstrong, the gifted actor John Douglas Thompson is working with a script whose lines and contours are as woefully predictable as a profile in the old Life Magazine.
Read MoreActor Jack Koenig never flags in the Peterborough Players production of “Present Laughter,” and around him in his London studio-flat swirls a churning world of impertinent employees and past and present loves that would do Kaufman and Hart proud.
Read More“As an artist, you probably know when a project pulls at you, sometimes kicking and screaming. Shylock definitely has me by the back of the neck.”
Read MoreThis daring musical version of “The Merchant of Venice” provides a fascinating re-imagining of a classic play that explores many of the themes and tropes of the original more deeply than many modern productions do.
Read MoreThere are plenty of amusing moments when dramatist Charles Busch makes effective use of his gift for exaggerated wit and whimsy — no dramatist can drop the word ‘canasta’ with as much hilarious finesse.
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Updated Aug. 9 at 3 p.m. In the second week of August, the power of percussion is much in evidence, with Mikael Ringquist and Marcus Santos, Manolo Mairena, Gary Fieldman, and Vicente Lebron. New Orleans adds some flavor with Christian Scott and Galactic, and Berklee Summer in the City just keeps rolling along.
Read MoreA 19th-century Russian masterpiece presented in a translation and a production whose mishmash of style distorts the play and confuses both actors and audiences.
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Theater Commentary/Review: A Not So Dumb “Month in The Country”
Given the Russian writer’s modernist pedigree, should director/playwright Richard Nelson and translators Richard Pevear and Larissa Volokhonsky be punished for putting some “unevenesses” into their staging of Turgenev’s finest play, “A Month in the Country”? I think not.
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