Theater
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.
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.
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.
“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.”
As the play ends, all four characters have a clear understanding of their marching orders. But will they — or we — act on them?
Shakespearean’s version of the Bard comes off as somewhat Monty Pythonesque — we are usually marching along with “Men Men Men.”
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,
“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.”
In this deeply enlightening study, Anthony Alan Shelton aims to set the record straight about how mask culture developed in Mexico as well as in Andean cultures.
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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