Huntington-Theatre-Company
The late Nicholas Martin — an ebullient, mirthful spirit.
Dramatist Melinda Lopez’s “Becoming Cuba” holds your attention even after you see just where it is going and why.
I do not remember disliking the characters in Anton Chekhov’s “The Seagull” as much as I did in this production.
“Venus in Fur” could be best described as cheeky rather than kinky, more of a talky intellectual exercise than a zesty exploration of the allure of sexual domination and submission.
Whenever you hear greeting card bromides intoned with a straight face (it’s usually in scenes set in a hospital) you know that moral fuzziness isn’t far behind.
Mary Zimmerman’s Jungle Book may not have the same kind of compelling narrative and emotional depth as her Bernstein/Voltaire tour de force, but there’s plenty of magic in this Disney/Kipling mash-up.
“Rapture, Blister, Burn” feels less like an exploration of feminism today than a clever sitcom pilot that won’t be able to sustain its jokes for an entire season.
Director Liesl Tommy’s unflinching approach gives Lorraine Hansberry’s classic a surprising urgency more than half a century after the drama first played on Broadway.
An adaptor has to make choices, and this theatrical version of “Invisible Man” focuses on the novel’s most straightforward narrative strand.
Bare bones, determinedly unhokey, and intimate, director David Cromer’s matter-of-fact approach does away with the irritatingly self-conscious fussiness that afflicts so many productions.
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