Boston Archives | The Theatre Times

The Central Square Theatre’s Production of “Cloud Nine”

Posted by Jane Baldwin | 4th Jul 2019 | Boston, Review, Theatre and Gender, United Kingdom, United States of America

Caryl Churchill’s brilliant two act play about sex Cloud Nine transpires in two eras and two...

“Vwayaj:” A Driven Celebration

Posted by Rem Myers | 1st Jul 2019 | Boston, Haiti, Review, Theatre and Dance, United States of America

Vwayaj, “Voyage” in Haitian Kreyol, a dance performance split into two movements of three pieces...

“Cloud 9:” A 1979 British Take on Power and Gender

Posted by Rem Myers | 24th Jun 2019 | Boston, Review, Theatre and Gender, United States of America

When I first read Cloud 9 by Caryl Churchill ten years ago as a theatre undergrad, I was struck...

“The Three Musketeers:” A Traditional Bout

Posted by Rem Myers | 20th Jun 2019 | Adaptation, Boston, Review, United States of America

After an inaugural season of staged readings last year, this season, The Front Porch Arts...

“Pride and Prejudice:” Delightfully Present

Posted by Rem Myers | 20th Jun 2019 | Adaptation, Boston, Review, United States of America

Pride and Prejudice, presented by the Actors’ Shakespeare Project and performed at the Balch Arena...

“Barefoot in the Park:” A Charming Romantic Comedy

Posted by Rem Myers | 19th Jun 2019 | Boston, Review, United States of America

Barefoot in the Park, by Neil Simon, now playing at Gloucester Stage in Gloucester, MA and...

“Yerma:” Visceral Obsession

Posted by Rem Myers | 17th Jun 2019 | Boston, Theatre and Gender, United States of America

In a new translation/adaptation by Huntington Playwright-in-Residence Melinda Lopez, Yerma,...

“The View Upstairs:” A Slice of Gay, Kitschy, Bar Life

Posted by Rem Myers | 10th Jun 2019 | Boston, LGBTQ Theatre, Musical Theatre, United Kingdom

Pushing through the colored streamers that shield the doorway of the Plaza Theatre at the Boston...

“Pacific Overtures:” Solid, Safe, Sondheim

Posted by Rem Myers | 30th May 2019 | Boston, Musical Theatre, Review, United States of America

Pacific Overtures, currently running through June 16th at The Lyric Stage in Boston, is one of...

“School Girls; Or The African Mean Girls Play”: A Show About Competition

Posted by Jane Baldwin | 30th May 2019 | Boston, Playwriting, Review, United States of America

Jocelyn Bioh’s School Girls; Or, the African Mean Girls Play now appearing at Boston’s SpeakEasy...

“We Live in Cairo:” Fully Committed, Still in Beta-Testing

Posted by Rem Myers | 27th May 2019 | Boston, Musical Theatre, Review, Theatre and Politics, United States of America

We Live in Cairo, a new musical written by brothers Daniel Lazour & Patrick Lazour, directed...

“Indecent”: A Play That Deals With Love And Hate In The Past And In Our Time

Posted by Jane Baldwin | 20th May 2019 | Boston, Review, United States of America

Boston is privileged to welcome Indecent, Paula Vogel’s and Rebecca Taichman’s adaptation of...

Wounds Of Tradition In Huntington’s “Indecent”

Posted by Matthew McMahan | 15th May 2019 | Boston, Musical Theatre, Review, United States of America

The Huntington Theatre Company has given the city of Boston a priceless gift by remounting the...

“black odyssey:” An Intimate Epic

Posted by Rem Myers | 14th May 2019 | Boston, Review, United States of America

The poetic epic by Marcus Gardley, black odyssey, presented at the Central Square Theater in a...

Mass Opera’s Production Of “Die Fledermaus” Is The Life Of The Party

Posted by Megan McCormick | 13th May 2019 | Boston, Review, Theatre and Opera, United States of America

She begins the opera as an uptight TV star concerned with looking perfect, annoyed with her husband for messing with her image. As Orlofsky’s party unfolds, she enters as the mysterious belle of the ball, determined to catch her husband red handed in his infidelity. Ultimately, she engages in a high-energy argument with Einstein resulting in her commitment to being more present rather than so concerned with her image.

Reinforcing Patriarchal Systems Of Power In BOC’s “‘Modern’ Don Giovanni”

Posted by Megan McCormick | 11th Apr 2019 | Boston, Review, Theatre and Opera, United States of America

The opera takes place mostly at Don Giovanni’s photography studio in upscale SOHO New York City. Two projector screens on either side of the stage, surrounded by translucent photography umbrellas, set the scene with pictures of the setting – from the warehouse windows of the studio to the dimly lit alleys of the city.