Huntington-Theatre-Company
When it comes to race relations, America has a lot on its plate — there is no good reason to serve leftovers.
Lydia R. Diamond’s Smart People is an amusing takedown of our “post-racial” world, and it is receiving a snappy, well-acted production via the 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.
Arts Commentary: The Kennedy Center and the Boston Symphony Orchestra — A Tale of Two Crises