Theater
The smoke drifting over the set is a metaphor for the mind-fogging rhetoric of Willy Loman’s phony boosterism. He has been adrift in an American dream that was a lie all along.
SpeakEasy Stage’s musically rich production grips with its performances, even as the drama struggles to fully deepen its tale of a crisis at sea.
Two productions set out to reinvent Andrew Lloyd Webber’s back catalog. Only one of them succeeds.
In this high-energy comedy of creative frustration, history—and hubris—repeat themselves to hilarious effect.
With its production of “Charlotte’s Web,” WFT has created a lovely, balanced experience — by turns obvious and full of nuance — that offers life lessons and the value of multigenerational sharing.
A renovated and flexible performance space with unlimited free parking is what every theater company from Boston to Portland dreams of.
The proceedings are continually involving, each of the performers supplying sufficient dramatic weight and interacting as a credible ensemble of characters rather than caricatures.
The play is preachy. But John Lithgow is magnificent.
I’m thinking that a one-person performance of “Hamlet” by a Brit transwoman might get under Trump’s necrotic skin.
“Suffs” bounces through a timeline of conferences, direct actions, interpersonal snits, and self-questioning over whether the entire endeavor is really worth it.
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