Theater
The sprawling cast — 30-plus players — under Michael Arden’s direction performs with verve; they deliver outstanding performances and have excellent singing chops.
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“A Man of No Importance” is a fitting finale for Paul Daigneault’s tenure as Artistic Director of SpeakEasy Stage Company because it is a paean to the power of theater as both an artistic expression and a place to discover community.
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A lot goes on in an epic — three acts over three hours with two intermissions — and there’s boatloads for Kate Hamill to dramatize and for the audience to digest.
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It is always a pleasure to see Ibsen on stage, but this production of one of his masterpieces is generally humdrum.
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Revelatory reunions are a standard dramatic setup, which explains why it takes quite a while for “The Grove” to gather some theatrical steam.
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This moving, at times beautiful, production evokes Michael K’s vision of purity, a rejection of collective cruelty and madness that asserts human dignity’s last stand — as an animal.
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In a production filled with emotional intensity, Audra McDonald delivers a powerhouse portrayal that elevates a somewhat uneven staging.
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Few could doubt this satire’s relevance, given the alarming results of November’s election: a convicted felon, whose minions lean into racist and sexist tropes, is back in the White House.
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At its best, this script offers an opportunity for audiences to cast a backward glance at the first stirrings of dramatist Lynn Nottage’s prolific canon.
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Arts Commentary: Climate Crisis Cabaret — Marching Orders
Why did I help organize the Climate Crisis Cabaret? Because these are not normal times. And we need more theater like it.
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