Imaginary Beasts’ Winter Panto 2019 proffers plenty of enthusiasm, wit, and panache.
Charlestown Working Theater
The Beau Jest Moving Theater staging succeeds at conjuring up the genially comic spirit of the late Larry Coen, a bounteously talented actor and director.
Matthew Woods and his actors do not draw on a faux-naturalist performance style, which is so (unfortunately) fashionable in mainstream theater.
Marlowe’s skill in maintaining a high level of complexity put the history play on a sophisticated footing.
Wild Williams is a marvelous antidote for the formulaic.
We do it for the joy and communitas of making theater together much as we do for responding to the world around us through art.
British dramatist Caryl Churchill proffers a valuable line of satiric attack on our delusions of doing good, so it is easy to forgive the dramatist her broad and scattershot comic approach.
Hunger is hunger but each hungry person experiences it in his or her own way. That insight is at the heart of the remarkable, socially engaged toy theater production Who’s Hungry.
Every September proffers an explosion of productions; as usual, my eclectic picks, driven by my prejudice for the new. There are few world premieres among the openers this season, aside from the Provincetown Tennessee Williams Theater Festival’s “Once in a Lifetime” and Arts Emerson’s presentation of The Foundry Theatre’s “How Much is Enough.”
A busy month of theater, especially for off-speed, postmodern romances, while old-timers such as the Gershwins and Tennessee Williams receive some attention as well.