Theater
“I was/am struck by the women in The How and the Why. I hadn’t seen them onstage before. Nor had I quite heard from them before.”
Rarely are Boston’s stages graced with a Shakespeare production that reaches this high a level of accomplishment.
With Julius Caesar, Bridge Repertory shows that it can assemble a strong ensemble and put together a memorable sensory experience.
An amiable musical revue about two guys who kick up their heels after global warming finally boils over.
At first, The Submission comes on as an agreeably edgy satire of the automatic embrace of identity politics and political correctness in the academy and popular culture.
Albatross is terrific — a powerful script, vital performance, and imaginative stage design.
Mothers & Sons raises important questions about struggle, acceptance, and love, dramatizing battles that are still being waged.
Ronan Noone’s allegedly frisky sex farce is bloodless.
The Grand Parade is a truly sumptuous feast of imagination, color, emotion and movement; a uniquely dramatic way of interpreting our history as a torrent of events presented without judgment.
The Whole World focuses on the incoherence that lurks underneath the empowering narratives we tell about ourselves.
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