Vibrant, independent theater in Boston and throughout New England will not be sustained if the demolition starts at the bottom and moves up.
I’m suddenly startled by the almost simultaneous appearance of two killers, neither of them COVID-19, each seemingly unbeatable in its own way.
One of the masterpieces of Russian drama is done justice in a English version that successfully captures much of the wit and fluency of the original.
I’m curious to see what happens next. I’ll keep writing plays, but I might need to hone my skills as a handyman just in case this whole theater thing doesn’t pan out.
Theater is seen as a cleansing illness that sets out to obliterate the illness we blithely accept as health.
The White Plague uses dread to shock us into empathy for ourselves, to be alarmed by the fragility of our bodies as well as the resources and ethics of the medical system.
The late Terrence McNally was more than just a masterful playwright. He also forged new roads in musical theater.
This was an enormously exciting production of Merchant of Venice, a reminder that theater can be (in fact, must be!) nervy.
Dominique Morisseau’s earnest Pipeline is a “message” play, American style.
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.