Theater
Socialism is no longer a discredited word, and Fo brings an impish sense of divine comedy to the clash between the haves and the have nots.
MJ Halberstandt’s script is at its strongest when his characters, and how they connect with each other, are the focus.
Lisa Dwan’s performance of these Beckett pieces in a totally darkened theater is powerful and, in the case of Not I, deliciously revelatory.
August Wilson’s dramatized autobiography, thanks to the magnificent actor Eugene Lee, is a stirring experience.
Fast Company may be light entertainment, but director M. Bevin O’Gara has assembled her own remarkable crew for this breezy caper comedy.
An air of anachronism hangs over the ZSC production of Cakewalk, particularly regarding its treatment of racial and social issues.
With conformity on the march, Ionesco’s Rhinoceros remains as timely as ever.
I’m deeply grateful to Arts Emerson for bringing the Maly Drama Theatre to Boston and hope for more.
Okada’s play reflects how skepticism has become the default stance for young adults shellshocked by post-recession economic restructuring.
1984‘s theatrical vision of authoritarianism in action is not for the faint of heart.
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