Off the Grid’s The Weird is content to cast a low wattage spell.
There is little doubt in my mind that this powerful production of Blasted will be one of the high points in Boston theater this year.
ASP director Bridgette Kathleen O’Leary chooses a nuanced approach to Othello that hews closely to the text.
Actors’ Shakespeare Project’s superb production of God’s Ear honors this beautiful text.
Attempting to dig underneath our protective psychic skins to get at the festering Ids within, John Kuntz would like Necessary Monsters to mesh laughter and fright, comedy and horror.
Clocking in at around three hours, the show is a surreal grab bag filled with gags, skits, and sketches, the whole kooky kit and kaboodle tied up (too) neatly in a paranoid ribbon.
Playwright Gericke-Schönhagen, hoping to avoid the phenomenon of talking heads, deliberately placed emphasis on those letters between Voltaire and Frederick that dramatized personalities rather than ideas.
“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.”
Hard luck stories and ghostly characters flit in and out of the creepy yet elegant Hotel Nepenthe, an antique nest where guests are given leopard skin coats while they await their existential fates, sometimes lying in the bathtub. “For its own interests, humor should take its outings in grave company; its cheerful dress gets heightened […]
A hold-onto-your seat month with some intriguing world premieres, including a musical version of a Korean folktale, an attempt to turn Aeschylus’s Prometheus Bound into a rock event, and a cerebral confab featuring Leonardo da Vinci, Michelangelo, and Machiavelli. By Bill Marx. King Lear by William Shakespeare. Directed by Michael Grandage. NT Live screens the […]