Jim Petosa
Playwright Aaron Loeb is spot on when writing about the corporate world where loyalty is maintained through non-disclosure agreements.
Lydia R. Diamond’s dialogue is funny and cutting; when it needs to it digs deep, mining gems of psychological insight.
The New Rep production is polished, surprising, and certainly hard-hitting.
When it comes to dramatic debate, balanced parry and thrust are paramount.
The New Repertory Theatre is paying homage to Arthur Miller’s centennial with a superb staging of one of the dramatist’s later works, Broken Glass.
The fine efforts of the New Rep performers and Jim Petosa’s thoughtful staging can’t solve this musical’s central flaw.
Why does John Merrick get a room in the London Hospital for the rest of his life? Because he’s charming and he’s witty, while the pinheads next door to him didn’t fare that well.
What is a Judicial Review? It is a fresh approach to creating a conversational, critical space about the arts and culture. This is our eighth session, a discussion about the Boston University College of Fine Arts production of the 1990 Stephen Sondheim/John Weidman musical Assassins, which looks at the lives and sensibilities of men and women who attempted (successfully or otherwise) to kill the President of the United States.
Reviewed By Caldwell Titcomb Much attention has rightly been paid to Stephen Sondheim, who has reached the age of 80 and is the greatest composer/lyricist our country has produced. Boston University got into the act by mounting a production of Merrily We Roll Along in the large B.U. Theatre for a five-day run (April 28–May…
“Musicians take all the liberties they can.” — Ludwig Von Beethoven Opus by Michael Hollinger. Directed by Jim Petosa. Staged by the New Repertory Theatre at the Arsenal Center for the Arts, Watertown, MA, through April 17. Reviewed by Bill Marx In Opus, dramatist Michael Hollinger belies Beethoven’s frustrated observation about the free-wheeling nature of…
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