Erik Nikander
Leigh Barrett’s staging reflects a clear-eyed understanding of the power of the material’s simplicity, which makes The Last Five Years an exceptional musical experience: thought-provoking as well as captivating.
Audiences who are open to a show that provides both riotous comedy and bracing truths will find plenty to think about in this deconstruction of one of the Bard’s most problematic problem plays.
The conversation between Ravi and his mother is funny, engaging, and often illuminating; their real life bond is palpable as the pair try to reconcile the young man’s hopes and dreams with his Indian heritage.
Hub Theatre’s virtual production of Much Ado About Nothing recognizes Zoom’s potential for farce and leans into it: this is a rollicking delight of a show that refuses to take itself seriously, to everyone’s benefit.
There’s much to admire and appreciate about this MRT production; but the play’s lack of a solid dramatic spine is a crippling problem.
The Arts Fuse Mentorship Program invites high school students from diverse backgrounds (in this go around from Somerville High School) to team-up with Arts Fuse critics.
Our theater critics pick some of the outstanding productions of the year.
Director Igor Golyak takes major chances in presenting a version of The Seagull that’s self-consciously about The Seagull. And they pay off.
A script with this many characters buzzing about demands a strong cast — fortunately, Hub Theatre’s terrific ensemble is more than up to the task.
At its best, Tiny Beautiful Things delves deep into demanding emotional territory without becoming sappy or maudlin.
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