Theater
A 50th anniversary is a wonderful milestone, and I congratulate the Revels for looking back and huzzahing the occasion as they have.
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Ma Rainey’s Black Bottom is a stellar artistic accomplishment, a blazingly powerful dramatic experience.
Read MoreClassical Album Reviews: Petrenko conducts Elgar, Britten’s “Saint Nicolas,” and “Italian Postcards”
One of Vasily Petrenko’s most successful Elgar releases; there’s an edge to the Crouch End Festival Chorus’ performance of Britten’s Saint Nicolas ; Quartetto di Cremona’s new album is nothing if not overflowing with Mediterranean personality
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In this innovative series, the Huntington Theatre Company has charged 11 local playwrights to imagine a future vision of Boston, post-pandemic, when “we can once again meet and connect in our city.”
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Peter Wortsman has made a valuable contribution with this play; it is a rare theatrical account about how living through the Holocaust shaped survivors.
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Hub Theatre’s virtual production of Much Ado About Nothing recognizes Zoom’s potential for farce and leans into it: this is a rollicking delight of a show that refuses to take itself seriously, to everyone’s benefit.
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Bill Irwin’s homage to Samuel Beckett explores what makes the writer so fascinating, even inspiring, for those who appreciate the knockabout beauty of his despair.
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I’ve hated enough people,” Penny Arcade confessed, “I can’t hate anyone new until 2022.”
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Are our theaters indifferent, craven, or complicit? Take your pick.
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Theater Feature: An Interview with Benny Sato Ambush on Directing the Virtual Reading of Anthony Clarvoe’s “The Living”
“A play like The Living pricks the conscience of the country. It is the reason I wanted to produce and direct it.”
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