Diane Paulus
Burn all Night is a pretty damp squib coming from one of the country’s major regional theaters.
This is a rich evening of theater because it takes up social and psychological problems that aren’t ordinarily addressed on our stages.
An amiable musical revue about two guys who kick up their heels after global warming finally boils over.
If the fate of life on earth comes down to mother and daughter bonding over a racy passage in Anaïs Nin, then he whales should just call it a day.
The $3 million American Repertory Theater version of Finding Neverland remains a work in progress, a “tryout” as it has been dubbed, and it feels just like that.
Stage coverage at the Boston Globe/NPR brain trust is generally dedicated to serving the rich and the trendy — the publicity gum drop for Finding Neverland is the latest evidence that the fix is in for the fat cats.
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. .
Women are the dominant force in “Amaluna.” They command the evening’s whirligig of a stage as aerialists, clowns, musicians, dancers, and contortionists.
Theater Commentary: “Trumpismo avant la lettre” and the Elliot Norton Awards
Hypnotized by celebrity and the monied class, our stage critics have become a gaggle of cheerleaders, feckless enough to call Diane Paulus a “visionary.”
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