Arts Emerson
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.
Simultaneously storyteller and player, ancient character and modern respondent, Denis O’Hare’s performance of “An Iliad” elicits the kind of respect automatically granted this genre of demanding monologual performance.
In this production, director Piotr Fomenko “wanted to explore whether family happiness is even possible, the fight to keep it and the fear of losing it.”
Don’t expect a standard musical. Think of Fela! as an immersive, artsy, concert experience featuring virtuoso displays of dance and musicianship.
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