Theater
Commonwealth Shakespeare Company’s production of Birdy is at its best when it focuses on the play’s central relationships.
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The playwright supplies a memorable encounter between young and old in the play’s final scene, but it is too late to compensate for the superficiality of the Pirandello-lite antics that have come before.
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Once is a wonderful musical and the Speakeasy Stage production does exquisitely right by its considerable merits.
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The Half-Light is a play about ghosts that, while offering intimations of mortality, ends up exuding a charming and infectious romantic spirit.
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The Lyric Stage Company’s The Little Foxes is taut, tense, and eerily reflective of our own uneasy, pernicious times.
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The script offers an indispensable vision of American history from the point of view of African women.
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It’s impossible not to be moved by Lauren Gunderson’s elegant, understated writing.
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Albert Finney was the greatest interpreter of England’s gift to the world of contemporary theater, the Kitchen Sink Drama.
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Anchored by the assured direction of Cailin Doran and Jade Wheeler’s dazzling performance, Who is Eartha Mae? sings with truth.
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The generally enjoyable Bedlam production of Pygmalion doesn’t quite settle for the glucose bait.
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Arts Commentary: Rich in Creativity — But Nothing Else