Theater
Part of the problem with the first episode of the “Blood Rose Rising” series may be signs of the show’s indecisive intent: is it a comic thriller spoof, a scary horror mystery, or a serious drama about relationships and spirituality?
“There aren’t a lot of roles for Middle Eastern actors in the United States. And it does mean something to me to be able to create roles like this.”
Many historical dramas are content to use the past as a lens through which to view the present, but “Hand in Hand Together” does more than explore how conflicting ideologies influenced the creation of modern Israel. Dramatist A. B. Yehoshua explores the other possible routes history may have taken.
The well sung, classically staged Lyric Stage production of “The Mikado” supplies plenty of trip down memory lane satisfactions.
In its program, the A.R.T. links today’s 1% with the French aristocracy, a stab at relevance that does both the snobby thugs of the French Revolution and the super well-off of today a disservice. Say what you will about the 1%, but they aren’t stupid.
The latest play by the celebrated Israeli writer A.B. Yehoshua is a historical drama that revolves around an imaginary conversation between two major political rivals about Zionism and the founding of Israel. Israeli Stage is presenting the American premiere of a staged reading of the script.
“Rounding Third” flounders most when it tries to get serious. Luckily, it doesn’t try very hard, and delivers considerable amusement.
As 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.
Actor 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.
The Annual Francis Davis Jazz Critics Poll at Mid-Year: Warming Up a Riff — How It Happened, and Why It Matters