Theater
This is the most slickly engaging of Mfoniso Udofia’s scripts so far, its domestic melodrama enlivened by welcome humor, detailed characterizations, and moments of pathos.
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The Huntington Theatre Company’s production of “Don’t Eat the Mangos” commands attention with its blend of entertainment and enlightenment.
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A clever British import and a soulful Cuban music-fest reflect a season that delivers the full range of musical storytelling Broadway’s been missing
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Ace performances help make Night Side Songs a rich and moving experience, compounded by the fact that it is valuable to be in a room full of empathy and love in these trying times.
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“The Triumph of Love” lacks the physical comedy and swift action that usually characterize a farce. Here the dialogue is the action.
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The Russian dramatist’s expansive application of ridicule, his picture of human society as an endless chain of fools fooling fools fooling fools, couldn’t be more fitting — it is a funhouse mirror of our times.
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The sprawling cast — 30-plus players — under Michael Arden’s direction performs with verve; they deliver outstanding performances and have excellent singing chops.
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Why did I help organize the Climate Crisis Cabaret? Because these are not normal times. And we need more theater like it.
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“A Man of No Importance” is a fitting finale for Paul Daigneault’s tenure as Artistic Director of SpeakEasy Stage Company because it is a paean to the power of theater as both an artistic expression and a place to discover community.
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Arts Commentary: Time to Step Off the “Carousel” of Denial
We desperately need plays and musicals — produced by local companies with courage and nerve — that acknowledge that the cancer of autocracy is here, today, and becoming stronger. That is the demand — will any answer the call?
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