The Cambridge Chamber Ensemble’s “Cendrillon” Showcases Talent But Misses Its Mark
The Cambridge Chamber Ensemble debuted their reimagined production of Pauline Viardot-Garcia’s...
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United States of America
Composer-in-Residence Clint Borzoni
Clint Borzoni is the current Composer-in-Residence for Musica Marin, a non-profit organization...
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Angels (And Demons) Of History In EgoPo’s “Lydie Breeze” Trilogy
Jessica Rizzo sees the 10-hour, marathon performance of EgoPo Theater’s Lydie Breeze trilogy...
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The Problem Of The Unmarried Woman In “Old, New, Borrowed, Blue”
Metrowest Opera had a full audience in the BCA’s smaller space on Saturday evening for their...
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“Summer: The Donna Summer Musical” – Setting The Record Straight
As we’ve settled into the 21st century, pop-culture vestiges of the 20th century have fallen by...
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At Carnegie Hall, Tianqi Du Chases After Bach’s Goldberg Variations
In the world of piano, J.S. Bach’s Goldberg Variations is a siren’s call. Countless pianists have...
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Psychological Spaces, #Metoo, And “The Crucible:” A Conversation With Set Designer Andrew R. Cohen
The Crucible (1953) is Arthur Miller’s harrowing play about the 1692 Salem witch trials. Set in...
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“SeagullMachine” – The Assembly Mixes Chekhov and Müller
The lights never go down on the audience, the result being we all play a part in the production, and there are no spectators. La MaMa E.T.C. is a beautiful, decrepit, wonderfully haunted space; to redefine audience roles and do away with spectators is an adventurous, fun design for this stage.
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“Ameryka”- Critical Mass And Block Party 2018
In 2017, Los Angeles’ Center Theatre Group launched a new, and frankly exciting, idea known as...
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Don’t Shoot The Messenger: Elfriede Jelinek’s “Rechnitz” In New York
On March 24, 1945, there was a party in Rechnitz, an Austrian town on the Hungarian border. The...
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Edward Albee’s “Three Tall Women”: A Dissent
My reaction to Edward Albee’s Three Tall Women when it first arrived in New York in 1994 was...
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Jacob Storms’ “Tennessee Rising”: Remembering Tennessee Williams
Tennessee Rising is a theatre piece that requires yet easily commands your full attention. The...
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Bread of Life: Bread and Puppet Theater’s “The Basic Bye Bye Show”
As The Basic Byebye Show comes to an end, a pair of enormous papier mâché angel’s wings protruding...
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The Wooster Group’s “A Pink Chair” – Can You Ever Return?
The Wooster Group’s newest production, A Pink Chair (In Place of a Fake Antique), was...
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Metaphor At Play: New Theatre from Belgium, Poland and United States
Focusing on varied issues, three foreign plays staged at the 8th Theatre Olympics appealed with...
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Jacob Storms And “Tennessee Rising”
Jacob Storms is the recipient of the 2017 United Solo Award for Best One-Man Show after he...
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Boheme and Beer: an Unconventional Production by Boston Opera Collaborative
Audiences found themselves amidst fermentation vessels and set dressings alike this past Thursday...
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“Miss You Like Hell”: New York Premiere Musical
There’s no curtain to create the traditional pomp and circumstance of American theatre. The stage...
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Love, Death And Soviet Spies: Boston Playwrights’ Theatre Stages Its First Opera, “The Rosenbergs”
It was like the Dreyfus Affair. The Sacco-Vanzetti Trial. Any of those singular moments in history...
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“Carousel” is Revived on Broadway, Ill-Timed and Ill-Equipped
There is magic in this production, though it is Broadway magic arguably used for ill.
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