Theater
Ma Rainey’s Black Bottom is a stellar artistic accomplishment, a blazingly powerful dramatic experience.
Classical 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
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.”
Peter Wortsman has made a valuable contribution with this play; it is a rare theatrical account about how living through the Holocaust shaped survivors.
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.
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.
I’ve hated enough people,” Penny Arcade confessed, “I can’t hate anyone new until 2022.”
Are our theaters indifferent, craven, or complicit? Take your pick.
The script is not a conventional history of women’s suffrage: dramatic Jean Ann Douglass mobilizes satire, sexuality, suffering, and sarcasm.
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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