Theater
In this delightful production of “Candide,” director Mary Zimmerman imaginatively reworks and mischievously augments the musical. Her deliciously blowzy approach embraces, with charming lyrical fervor, the sheer preposterousness of Voltaire’s sardonic fable.
The audience, seated at tables in semi-darkness, responded to TV talk-show style questions. At first, we raised our hands to vote on generic, consensus-building questions: Who believes in private, public or charter schools? Who wants significant change in their lives?
“The Lady With All the Answers” presents the columnist Ann Landers as a person who just might write a letter to Ann herself. Her faith in herself and her work is unquestioned, even as her own life takes a bump or two. Well, really, only one bump.
The impressive cast and lovely, atmospheric design of the Lyric Stage production cannot completely overcome the flaws of “Big River,” but they make the trip a scenic, often amusing, and enjoyable theatrical journey.
The American Repertory Theater’s juggling/removal of the operatic elements in “Porgy and Bess” is clumsy, but the goal is to create a compelling entertainment for contemporary audiences, smoothing out the melodramatic story’s edges and cutting its length.
Director Gus Kikkonen and cast come up with a bright, literate presentation of William Shakespeare’s play “Measure for Measure,” a potentially dark comedy pregnant with power.
An alternative to the New York Times’ review of “Porgy and Bess” at the Tanglewood Festival.
9/11 has inspired a number of movies and TV documentaries, but theater works about the event are rare. What are dramatists and theater companies afraid of?
Trapped in a cluttered set meant to evoke an abandoned nightclub (with old, upside-down flowerpots? why?), the cast of TEN CENTS A DANCE do little but wander about singing strangely uninspired arrangements of some of America’s best-known songs.
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