A major regional theater is turning itself into a launching pad for Broadway/Las Vegas blockbusters, with Hollywood pouring cash and advice into the pipeline. .
American Repertory Theater
Is it the Bard or a magic show? The prestidigitation wins out given the wanness of the dramatic proceedings.
The 64,000 question is, if the artists’ concerns gravitated to the Marathon Bombings, why did “Interference”‘s press releases and the program cite Picasso’s “Guernica”?
What is refreshing about the muscular back-flipping in David Farr’s amusing rewrite of the Robin Hood fable is that Maid Marion is as much into derring-do as the Merry Men.
Pulitzer prize-winning dramatist Robert Schenkkan is chained to a dreary, fact-driven approach in “All the Way,” tossing in bits and pieces of “what if” for unconvincing dramatic effect.
Despite its aura of “Gidget Goes Hawaiian,” and the profusion of cute props like rubber duckies and ukeleles, The Hypocrites’ production is smart enough not to mess (too much) with the original score and lyrics.
The luminous physical beauty of the production staged by the American Repertory Theater, coupled with carefully crafted performances by its performers, makes this a Glass Menagerie to be cherished.
When this version of Pippin hits New York, it will be a welcome alternative to the trend among many of the current Broadway musicals to demote dance elements to the background.
Nervous mainstream audiences could breathe easy, the messy cultural ruckus of the ’60s was over: it was ok to find yourself in the suburbs.
In its program, the A.R.T. links today’s 1% with the French aristocracy, a stab at relevance that does both the snobby thugs of the French Revolution and the super well-off of today a disservice. Say what you will about the 1%, but they aren’t stupid.