Boston

Dramaturging Performance, Pedagogy, and Protest in Boston, ATHE 2018

Posted by Walter Byongsok Chon | 16th Sep 2018 | Boston, Dramaturgy, Essay, United States of America |

This article examines the Dramaturgy Focus Group at the annual ATHE (Associations for Theatre in...

Girls Being Bad: “Our Dear Dead Drug Lord” By Alexis Scheer

Posted by Trevor Boffone | 8th Aug 2018 | Boston, Playwriting, Review, Theatre and Gender, United Kingdom |

“On Wednesdays, we wear pink,” affirms Regina George in the 2004 cult classic comedy Mean Girls....

Preview: OperaHub’s “DIVAS;” Calling Out The Opera Industry In A Love Letter To The Opera Art Form

Posted by Katrina Holden-Buckley | 21st Jun 2018 | Boston, Interview, Theatre and Opera, United States of America |

This week, OperaHub’s original DIVAS, a “World Premier play with opera music” opens June 21st and...

Boston Lyric Opera’s “Trouble In Tahiti”

Posted by Katrina Holden-Buckley | 10th Jun 2018 | Boston, Review, Theatre and Opera, United States of America |

Boston Lyric Opera truly transformed the North End’s DCR Steriti Ice Rink into a 1950s Cuban style...

“Jagged Little Pill” Finds A New Life

Posted by Jane Baldwin | 6th Jun 2018 | Boston, Musical Theatre, Review, United States of America |

Jagged Little Pill, Alanis Morissette’s internationally famous alt-rock album released in 1995 has...

“The Women Who Mapped The Stars”: The Struggle to be Acknowledged

Posted by Jane Baldwin | 13th May 2018 | Boston, Review, Theatre and Gender, Theatre and Science, United States of America |

The Women Who Mapped the Stars is a new work by Joyce Van Dyke, a rising dramatist with several...

The Cambridge Chamber Ensemble’s “Cendrillon” Showcases Talent But Misses Its Mark

Posted by Kristin Tomecek | 11th May 2018 | Boston, Review, Theatre and Opera, United States of America |

The Cambridge Chamber Ensemble debuted their reimagined production of Pauline Viardot-Garcia’s...

The Problem Of The Unmarried Woman In “Old, New, Borrowed, Blue”

Posted by Katrina Holden-Buckley | 11th May 2018 | Boston, Review, Theatre and Opera, United States of America |

Metrowest Opera had a full audience in the BCA’s smaller space on Saturday evening for their...

Boheme and Beer: an Unconventional Production by Boston Opera Collaborative

Posted by Kristin Tomecek | 15th Apr 2018 | Boston, Review, Theatre and Opera |

Audiences found themselves amidst fermentation vessels and set dressings alike this past Thursday...

Love, Death And Soviet Spies: Boston Playwrights’ Theatre Stages Its First Opera, “The Rosenbergs”

Posted by Keith Powers | 13th Apr 2018 | Boston, Denmark, News, Theatre and Opera, United States of America |

It was like the Dreyfus Affair. The Sacco-Vanzetti Trial. Any of those singular moments in history...

Socialist Morality in “The Threepenny Opera”

Posted by Katrina Holden-Buckley | 8th Apr 2018 | Boston, Review, Theatre and Opera, Theatre and Politics, United States of America |

On Friday, March 23rd, Boston Lyric Opera continued its run of The Threepenny Opera to a sold-out...

“The White Card”: An Attempt To Communicate

Posted by Jane Baldwin | 15th Mar 2018 | Boston, Review, United States of America |

The White Card, Claudia Rankine’s play on racism is having its world premiere at Boston’s...

Rapping While White, Surviving While Black: “Hype Man” At Boston’s Company One

Posted by James Montaño | 10th Mar 2018 | Boston, Review, United States of America |

The legacy of rap in America is rich with rhymes and rhymers that challenge institutionalized...

“As One” – A New Biographical Opera About Transgender Experience Premiers in Boston

Posted by Katrina Holden-Buckley | 11th Feb 2018 | Boston, LGBTQ Theatre, Review, Theatre and Opera |

Saturday night at Longy School of Music’s Pickman Hall, As One had its Boston Premiere in the...

“Brodsky/Baryshnikov” – Poetry in Motion

Posted by Katrina Holden-Buckley | 7th Feb 2018 | Boston, Devised Theatre, Review, Theatre and Dance |

The choreography itself spun through a range of subtle to more bombastic, creating a dramatic arc for the 90-minute piece. Baryshnikov’s commitment to using the whole body is unflinching. Whether it was part of the opening movement, when a chair balanced against his back served as the hint to the centaur referenced in a poem, or the use of his fluttering arms as a butterfly metaphor, his conviction in thought and body is mesmerizing. The illustrative nature of the metaphors manages not to be redundant or heavy-handed.