Reading Sumiteru Taniguchi’s book brought back my memories of meeting a man who had witnessed the unimaginable.
The late Terrence McNally was more than just a masterful playwright. He also forged new roads in musical theater.
Doriot Anthony Dwyer was a virtuoso flutist, one who could coax brightly burnished tones out of the instrument.
An apocalyptic backdrop gives the play urgency, especially given the current worldwide struggle to contain the Corvid-19 virus, which has already claimed thousands of lives.
I recommend this show for Lucian Freud’s highly polished craftsmanship, but his wry game of psychological hide-and-seek is not all that satisfying.
While there is much to admire about Detroit Red’s script, there are serious problems with the staging.
There have been times in the MFA’s past when it hasn’t lived up to its educational mission, when it has pandered to the whims of the wealthy — particularly its fat cat benefactors.
Kudos for two short plays by Tennessee Williams and Yukio Mishma at this year’s Provincetown Tennessee Williams Theater Festival
Few of the numbers in Choir Boy fails to astonish.
The Lyric Stage Company of Boston is giving this nostalgic hokum a spirited production.