Theater
This 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.
Read More
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.
Read MoreShakespeare’s “Coriolanus” deals with the difficultly of recognizing superiority at a time of radical social breakdown, specifically when it is democracy that is in extremis.
Read MoreWhy did Chester Theatre Company’s Artistic Director Byam Stevens choose such a banal, lazily-written play with no drama, no development, barely any interesting language, and none of the wit, charm or whimsy I’ve come to associate with this stage company?
Read MoreUltimately the evening is NOT about wrestling. It’s about the root, the very nature of art. About the love of craft; about wanting and needing to create.
Read More
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.
Read More