We are definitely feeling a sense of Buddy haunting us, to be sure. I mean, this theater is the place he visited. He attended many, if not most, of the shows here.
Trinity Repertory Company
Lope de Vega’s classic story of how the powerless stood up to authority — and won –deserves better treatment than clumsy caricature.
This thoroughly cockamamy world offers the kind of guilty pleasure that you hope never ends.
Critic Eric Bentley valued the theater of audacity above all, and that is just what is on glorious display in Trinity Rep’s marvelously nervy A Lie of the Mind.
Chekhov’s jokes are the inevitable by-products of his characters confronting life’s absurdities; Christopher Durang is content to wring laughs out of wacky situations and cartoon caricatures.
Given his full-throttle depiction of the myopia of middle class mores, Bruce Norris is more in the flamboyant satiric line of Sinclair Lewis, who also trained his sharp ear and eye on the Midwest, the American heartland, jabbing away at American delusions of community, status, and self-satisfaction.
It is encouraging that the list of recommendations for October isn’t filled with musicals. Are straight plays back? I wouldn’t count on it in this economic climate. So let’s bask in the chance to hear words without music.
Every September proffers an explosion of productions; as usual, my eclectic picks, driven by my prejudice for the new. There are few world premieres among the openers this season, aside from the Provincetown Tennessee Williams Theater Festival’s “Once in a Lifetime” and Arts Emerson’s presentation of The Foundry Theatre’s “How Much is Enough.”
Any month that includes an attempt to get kids into the poetry of Shakespeare, inspirational women, and talking chickens looks fairly promising. By Bill Marx 1: Shakespeare and the Language that Shaped a World by Kevin G. Coleman. Directed by Jenna Ware. Presented by Shakespeare and Company at the Elayne P. Bernstein Theatre, Lenox, MA, […]
By Bill Marx October includes the usual line-up of plays by seal-of-approval dramatists, Edward Albee and Conor McPherson, but there’s some welcome new blood, from Punchdrunk’s athletic adaptation of “Macbeth” to “Little Black Dress,” playwright Ronan Noone’s latest salvo at our national psyche, and “The Overwhelming,” the Boston premiere of a critically acclaimed study of […]