Theater
“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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A lot goes on in an epic — three acts over three hours with two intermissions — and there’s boatloads for Kate Hamill to dramatize and for the audience to digest.
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It is always a pleasure to see Ibsen on stage, but this production of one of his masterpieces is generally humdrum.
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Revelatory reunions are a standard dramatic setup, which explains why it takes quite a while for “The Grove” to gather some theatrical steam.
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This moving, at times beautiful, production evokes Michael K’s vision of purity, a rejection of collective cruelty and madness that asserts human dignity’s last stand — as an animal.
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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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