Singer Ute Gfrerer’s name should be spread far and wide to anyone — Jewish or not — who is interested in the music of that period, for this is first-rate work that should be heard for generations to come.
Does the distrust of (even a little) narrative ambiguity by North American dramaturgs and audiences mean that international plays must be made more ‘cinematic’ when they are produced here?
In his satire “The Golden Dragon,” Roland Schimmelpfennig holds his funhouse mirror up to “theater-people”: be they artists, audience, teachers, or students.
Dramatist Theresia Walser is careful to point out that these women did not merely benefit from the abuses of authoritarian power, but perpetrated many of them as well.
Director Guy Ben-Aharon is on a roll. Working through Israeli Stage and German Stage, he has brought together another smart, compelling foreign play (an American premiere) and a first-rate cast.
Despite being a staged reading with scripts still in hand, the members of the Israeli Stage ensemble were already comfortably inhabiting their roles, striking just the right balance between the tragic and comic dimensions of their characters.
Ingeborg Bachmann wanted freedom for them both. She says in her letter, “I am free and I am lost in this freedom.” Dominique Frot is a brave actress. She presents the poet’s freedom in her body and voice.
“The Boston theatre community can always profit from international influx. The German theatre scene in particular is quite innovative both in the plays being written and the productions that reach the stage.”