Why are Boston stages reacting so serenely to our current miasmas — pandemical, political, economic, and spiritual.
For me, Sweat hits its riveting stride in its second half, when the pressures of the strike tests the relationships of its working class characters.
Octavio Solis’ Quixote Nuevo, is a genial, and very American, riff on Don Quixote.
Much ado about nihilism.
Indecent is a play of contrasts: piety versus blasphemy, joy versus heartbreak.
The HTC’s Romeo and Juliet may be dressed in modern trappings, but the play’s elemental heart and soul are left fully intact.
A Doll’s House, Part 2 comes off as a return to the barn — after the door has fallen off its hinges.
Acclaimed playwright and screenwriter Michael Cristofer’s script is very open about portraying Emile Griffith’s sexuality.
To an extent, The Niceties does probe a fault line between the Democratic Party and the left: a boundary that will rupture sooner rather than later.
Eleanor Burgess’ The Niceties is an articulate, if structurally crabbed, expression of #blacklivesmatter anger as well as a millennial rebel yell.