Theater
“Fun Home”‘s relevance not only lies in how it flawlessly interweaves three storylines that revolve around the same character, but how it dramatizes, with grace, humor, and pathos, a familiar human struggle — looking at our parents through adult eyes.
Returning musicals take another shot at success – with very different outcomes.
Conveying the value of hope and resilience are undoubtedly important, but positing social and civic responsibility is also essential, and “Annie” clearly offers that opportunity.
“Summer, 1976” is a cleverly designed snapshot of a deep but fleeting friendship.
“Kim’s Convenience” offers a genial comic glimpse of an immigrant family’s struggle for dignity and an economic foothold.
The themes of “Lizard Boy” would land more squarely—and more powerfully—with a teenage audience than they can with those of us who can only recall such a time in our lives.
Shakespeare’s “Macbeth” serves as a springboard for a memorable new vision by these inventive, multimedia theater artists.
Broadway is being subjected to a steady parade of Hollywood names parachuting into familiar titles, propped up by prestige directors and stratospheric ticket prices.
A generous serving of what theater critic John Lahr calls playwright John Guare’s “funhouse-mirror reflection of American life’s caprice and chaos in the twentieth and twenty-first centuries.”
With its visual and emotional impact, “Leonardo! A Wonderful Show about a Terrible Monster” provides an expansive, more inclusive view of what theater can do for children.
Classical Music Commentary: What’s Next for the Boston Symphony? — Lessons from the Past