Isango’s Magic Flute/ Impempe Yomlingo is lit by flashes of brilliance. Most can be traced directly to Mandisi Dyantyis’ reorchestration of Mozart’s orchestral score for an ensemble of marimbas.
The tragedy of King Lear never takes hold because you know that soon someone is going to pick up an accordion and with a ‘Hey, Nonny Nonny’ dance those blues away.
“Abe Lincoln’s Piano” does not evoke in us the same sense of astonishment that Hershey Felder feels toward his antiquarian discoveries.
Pianist, actor, director and consummate storyteller Hershey Felder returns to Boston in a one-man show entitled Abe Lincoln’s Piano.
What makes “The Wholehearted” compelling is how it examines the metaphor of fighting as both a pubic career and as an aspect of domestic violence.
Theater is a public art. And yet, the irony here is that the most profound communication between individuals can be the least publicly communicable.
Israel’s Nalaga’at Theater Deaf-Blind Acting Ensemble, whose name translates to “Do Touch,” is on a U.S. tour that included a side visit to the White House.
“House/Divided” – a mélange of dazzling videography, startling and inventive lighting/props/stage craft, and spoken snippets of John Steinbeck’s quasi-Biblical prose – does not add anything new to our understanding of the current national malaise.
In her compelling deconstruct/rewrite of “Miss Julie,” set in South Africa 18 years after the end of apartheid, director/dramatist Yaël Farber doubles down on the elemental energies of Greek tragedy.
This remains a vision of a dystopian universe, but in the hands of these performers “Waiting for Godot”‘s angst exudes as much antic warmth as it does cold angst.