Theater
The success or failure of this show rests primarily on the physical presence, voice and acting of the actor playing the celebrated lyric tenor Roland Hayes.
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Acclaimed playwright and screenwriter Michael Cristofer’s script is very open about portraying Emile Griffith’s sexuality.
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The vacuousness of the digital world and the mainstream media is an easy target.
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This musical hodgepodge at the American Repertory Theater could be called ‘Let’s Sing About Me (and Me, and Then More About Me).’
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Peter Brook has decided to be more than a little stubbornly anti-theatrical in The Prisoner.
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Hype Man is a complex and challenging treatment of race relations in the U.S.– indispensable viewing in these days of Trump.
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The moral of Jen Silverman’s yarn is straightforward enough: we are in a country where self-transformation has become an end in itself, re-invention a default response to omnipresent banality.
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Hub Theatre Company’s production bursts with energy, staged with a clear-minded sense of movement and a hand-made quality that generates ample charm and whimsy.
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Mother Butterfly’s script shows genuine promise, but the Storm Warnings Repertory Theatre’s premiere production falls short.
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Theater Commentary: Jukebox Musicals — The Trend Continues, Alas
Producers are tapping into a specific demographic: predominantly white audiences that are flush and who crave the thrill of hearing – and seeing – their favorite tunes performed live.
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