Take the poems slowly, enjoy the Cage-y silences, the concentrated words as they appear.
Today’s spirit of protest calls for risk and innovation, dissent and defiance. Our timid stages fall disgracefully short of reflecting that iconoclasm.
The Boston Theater Critics Association should take action in support of #MeToo. But this will probably be the last year I request that Israel Horovitz’s Elliot Norton Prize be withdrawn.
The Living “is about the impulse to draw back, to lie, to conceal, and to retreat versus the impulse to gather, to commune, to cooperate, to find common ground. Those two conflicting impulses seem to inform our response to every disaster.”
Those who survive the climate crisis will regard American theater’s current indifference with incredulity and disgust.
“We believe the way to move through these times is 6 feet apart and ALL TOGETHER.”
Vibrant, independent theater in Boston and throughout New England will not be sustained if the demolition starts at the bottom and moves up.
I’m suddenly startled by the almost simultaneous appearance of two killers, neither of them COVID-19, each seemingly unbeatable in its own way.
One of the masterpieces of Russian drama is done justice in a English version that successfully captures much of the wit and fluency of the original.
I’m curious to see what happens next. I’ll keep writing plays, but I might need to hone my skills as a handyman just in case this whole theater thing doesn’t pan out.