Theater
A hatred of self and others sits, relatively neglected, at the center of Adam Rapp’s script.
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Unfortunately, it’s becoming increasingly rare for Boston area theater companies to produce shows that are as deeply rooted in our local culture as this one.
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Audiences who are open to a show that provides both riotous comedy and bracing truths will find plenty to think about in this deconstruction of one of the Bard’s most problematic problem plays.
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Wild Horses is a sort of hybrid of familiar coming-of-age stories: Little Women meets Summer of ’42, with a dollop of Stand By Me tossed in for intrigue.
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“In these plays, part of my job is to unflatten history in a way that’s engaging, and also shows us that it’s okay for us to feel overwhelmed and confused and scared by the world — that we’re not so different from the people who came before us. They got through it, and we will, too.”
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As the play ends, all four characters have a clear understanding of their marching orders. But will they — or we — act on them?
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Shakespearean’s version of the Bard comes off as somewhat Monty Pythonesque — we are usually marching along with “Men Men Men.”
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Madeleine George’s uneven 90-minte one-act comedy/drama borrows heavily on Greek mythology to zip up the misadventures of a cluster of suburban women in New Jersey,
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“A lot of censorship in America has to do with the impulse to shut down what women have to say, literally hanging and burning them as witches to shut them up.”
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Theater Commentary: Theater in a Time of Emergency? — The Same Old Same Old
Are Boston’s stage critics disengaged from reality? Or is it that they are afraid to speak up?
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