Theater
Acclaimed playwright and screenwriter Michael Cristofer’s script is very open about portraying Emile Griffith’s sexuality.
The vacuousness of the digital world and the mainstream media is an easy target.
This musical hodgepodge at the American Repertory Theater could be called ‘Let’s Sing About Me (and Me, and Then More About Me).’
Peter Brook has decided to be more than a little stubbornly anti-theatrical in The Prisoner.
Hype Man is a complex and challenging treatment of race relations in the U.S.– indispensable viewing in these days of Trump.
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.
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.
Mother Butterfly’s script shows genuine promise, but the Storm Warnings Repertory Theatre’s premiere production falls short.
New Rep’s production of We Will Not Be Silent is an intelligent and profoundly moving work of theater.
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.
Read More about Theater Commentary: Jukebox Musicals — The Trend Continues, Alas