Theater
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.
It is always a pleasure to see Ibsen on stage, but this production of one of his masterpieces is generally humdrum.
Revelatory reunions are a standard dramatic setup, which explains why it takes quite a while for “The Grove” to gather some theatrical steam.
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.
In a production filled with emotional intensity, Audra McDonald delivers a powerhouse portrayal that elevates a somewhat uneven staging.
Few could doubt this satire’s relevance, given the alarming results of November’s election: a convicted felon, whose minions lean into racist and sexist tropes, is back in the White House.
At its best, this script offers an opportunity for audiences to cast a backward glance at the first stirrings of dramatist Lynn Nottage’s prolific canon.
Our critics salute the year’s outstanding productions.
Once again, Revels has pulled together a varied and diverse cast of amateurs and professionals to amplify a valuable lesson: it’s important to stop and take stock of our lives during the longest night of the year and to have faith that a new year will bring renewal and growth.
Both Stereophonic and Babemake compelling drama out of the volatile world of pop music-making.
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