It behooves audiences to be aware of how workers in the arts organizations they frequent are treated and whether management is operating in good faith.
The CSC production maintains a sense of romantic adventure throughout, which makes it easier to accept some of the staging’s creative excesses — as well as the loop de loops of the Bard’s plotting.
Commonwealth Shakespeare Company’s production of Birdy is at its best when it focuses on the play’s central relationships.
Commonwealth Shakespeare Company’s Richard III is a deft, gripping version of Shakespeare’s vision of malevolence, staged with verve and vision.
Allegra Libonati has assembled a mostly excellent cast for what at first glance should be an evening of quality Bardic entertainment.
There are powerful intimations of modernity in the writhings of Edwin Booth’s psyche.
There is much to like in this outdoor production of Love’s Labor’s Lost — the time passes by quickly and there are plenty of smiles along the way.
For all of its sound and fury and smoke, the CSC’s version of King Lear is solid rather than surprising or exciting.
Brooke Adams portrays Winnie as the ultimate smiley face; her husband, Tony Shalhoub, is little more than another prop weathering her on-going babble.
There are laughs in this production of Twelfth Night, but the romantic payoffs are scarce, perhaps because the sit-com rhythms tend to swamp all else (including some of the poetry).