Mar 17

I Didn’t Make the World, I Just Live Here: Front Porch Arts Collective and The Huntington present “K-I-S-S-I-N-G”

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Sharmarke Yusuf and Regan Sims; Photo: T Charles Erickson.

Presented by the Front Porch Arts Collective and The Huntington
Written by Lenelle Moïse
Directed by Dawn M. Simmons
Dramaturgy by Charles Haugland 
Choreography by Misha Shields
Intimacy consultant: Gregory Geffrard
Voice coaching by Christine Hamel, Rebecca Schneebaum
Cultural consultant: New England Aces

March 3, 2023 – April 2, 2023
The Calderwood Pavilion/BCA
Boston, MA 02116
2 hours and 20 minutes with one intermission
Digital access to the filmed performance is available until April 16, 2023. 

Spoiler Alert: New England Theatre Geek discusses a central theme of K-I-S-S-I-N-G. Knowing this information shouldn’t ruin the play’s other surprises, character arcs, or ending. Your reaction to this plot point, how the characters react to it, and the audience’s reaction may teach you about your own inherent biases.

Critique by Kitty Drexel

BOSTON, MA —  The Huntington and The Porch must please update their summary for K-I-S-S-I-N-G. It no longer accurately describes the show. I thought there was going to be a lot more David Bowie and at least one quote from bell hooks. There are no pizza box art projects or fireworks displays. The co-production is/was highly anticipated. That part can stay.

K-I-S-S-I-N-G is a quasi-Cinderella story about the emotional and sexual awakening of Lala (Regan Sims), a young woman living on the edge of poverty who craves art, poetry, and the feel of warm, supportive arms around her. She lives with her emotionally stunted mother Dot (the ethereal Patrese D McClain who dominated the stage with her presence) and her little brother Max. Lala’s father Jack (James Milord) loves Lala like the sun loves the sparkle on the ocean’s waves, but he can only visit once a week. Continue reading →

Mar 13

Show More, Explain Less: “POV: You Are An AI Achieving Consciousness”

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Presented by CirqueSaw
Created by Nathan Leigh
Performed by Nicole Orabona

March 9-18, 2023
A Virtual Event
Zoom access required
40 Minutes

Critique by Kitty Drexel

ONLINE — I greatly respect artists who are involved in every aspect of the creation process of their art, but I don’t advise it. Creator Nathan Leigh is a multi-hyphenate who wrote, composed, directed, coded, and designed POV: You Are An AI Achieving Consciousness. Such intimacy with his work means he knows he can track every nuance and fine detail.

Such intimacy does not grant Leigh a fresh perspective or even moderate insight into glaring problems. In academic circles, this is when a professor would invite the dreaded reviewer #2 into the editing process.

 Reviewer #2, in theory, should offer handy advice that a writer hasn’t considered. This is almost never the case in scientific circles. In artistic workshopping, it will be helpful if the artists are open-minded. It is in the spirit of creating thoughtful and mind-enriching art that I offer the following critique. Continue reading →

Mar 10

If You See Something, No You Didn’t: “Cointelshow: A Patriot Act”

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Presented by ArtsEmerson 
Produced by Mondo Bizarro Productions
Written by L.M. Bogad
Performed by Bruce France
Composed by Peter J. Bowling
Virtual backend by Dan Pruksarnukul
Directed by Nick Slie and Dan Pruksarnukul
Scenic design by Bruce France, Dan Pruksarnukul, Nick Slie & Yamil Rodriguez
Additional collaboration: Yamil Rodriguez

March 8-12, 2023
Virtual Event
Zoom access required
Zoom closed captioning available
60-minutes

Critique by Kitty Drexel

“Listen, I can’t even get my dog to stay down. Do I look to you like someone who could overthrow the government?”

-Critic, playwright, and screenwriter Dorothy Parker in Parker’s home in April 1951 responding to FBI interrogation about Communist party activities. The dog, smelling dirty rats, began barking as soon as the agents entered the premises. 

Good dog.

ONLINE — Cointelshow: A Patriot Act is brought to you by the letters H, U, A, C and the numbers 1,9,6 and 9. It’s a niche theatre project that will appeal to folks invested in streamed live theatre. It will intrigue folks who see the internet as the new frontier of civil liberties. We are the ones who must watch the watchers. 

Cointelshow: A Patriot Act is righteously, gloriously subversive AF. It dresses its subversion up in parody, parades it in front of an audience of judgmental peers, reveals its subversion as an unreliable narrator with mental illnesses, and then proclaims its subversion as completely normal and meme-worthy. Here kids, have a Tiktok.  Continue reading →

Mar 08

We Would Do Anything for Love, Including That: “Alma”

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Full frontal chancla fight, Karina Beleno Carney and Luz Lopez in “Alma”. Photo: Nile Scott Studios.

Presented by Central Square Theater
Written by Benjamin Benne
Directed by Elena Velasco
Choreography by Angie Jepson
Dialect Coaching by Cristhian Mancinas-García
Community Connectivity Dramaturgy by Zowie Rico
Featuring Karina Beleno Carney (she/ella) and Luz Lopez (she/her)

February 23 to March 26, 2023
Central Square Theater
450 Massachusetts Avenue
Cambridge, MA 
75 minutes with no intermission

Critique by Kitty Drexel

Cambridge, MA — The Oxford English Dictionary says the American Dream is “the ideal that every citizen of the United States should have an equal opportunity to achieve success and prosperity through hard work, determination, and initiative.” Benjamin Benne’s Alma at Central Square Theater is the story of a family that comes to accept that some American dreams are only available to wealthy, white, and documented dreamers.   Continue reading →

Mar 05

Politically Stale Content v. Beautiful Production Work: “The Wife of Willesden”

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Marcus Adolphy, Clare Perkins, George Eggay, Andrew Frame, and the company of “The Wife of Willesden.” Photo: Marc Brenner

A Kiln Theatre Production presented by the American Repertory Theater
Adapted by Zadie Smith, adapted from Chaucer’s “The Wife of Bath”
Direction by Indhu Rubasingham
Composition and sound design by Ben and Max Ringham
Movement Direction by Imogen Knight
Fight Direction by Kev McCurdy
Voice & Dialect Coaching by Hazel Holder

February 25 – March 17
Loeb Drama Center
64 Brattle Street
Cambridge, MA 02138
Tickets and Info

Critique by Maegan Bergeron-Clearwood

Cambridge, MA –Loud, rebellious female characters from classic literature are juicy fodder for feminist reclamation, and understandably so. For women and folks of marginalized gender identities, it’s rare to see ourselves reflected as complex human beings in historical texts, even if most of these surviving texts are by dead white men. Shakespeare, for instance, likely didn’t have radical feminist intentions when he wrote Taming of the Shrew. But, Kate’s story is reshaped and retold again and again and again, problematic parts and all, if only to prove to the world that yes, women like her always existed.

The Wife of Willesden, a Kiln Theatre Production currently running at the A.R.T., strives to continue in this tradition, reexamining with the titular character from Chaucer’s “The Wife of Bath” (a tale from The Canterbury Tales) through a 21st century lens. The text was adapted (or translated, which I would argue is more accurate) by novelist Zadie Smith, with raucous, ensemble-driven direction by Indhu Rubasingham. Continue reading →

Feb 28

Swing and a Miss: “The Great Leap”

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Photo by Mark S Howard.

Presented by Lyric Stage Company of Boston
By Lauren Yee
Directed by Michael Hisamoto
Featuring Barlow Adamson, Jihan Haddad, Gary Thomas Ng, Tyler Simahk
Scenic Design: Baron E. Pugh
Costume Design: Seth Bodie
Lighting Designer: Michael Clark Wonson
Sound Design: Elizabeth Cahill

February 24 – March 19
140 Clarendon St
Boston MA 02116

Critique by Maegan Bergeron-Clearwood

BOSTON, MA — Sports are theatre: bodies are in motion, in the here-and-now of time and space, performing feats of incredible physical achievement, telling riveting stories about power and pathos. Staging sports-themed plays, therefore, offers inherent performative, spectacle-driven potential.

Unfortunately, the Lyric Stage’s production of Lauren Yee’s The Great Leap doesn’t quite tap into. For only having four characters, The Great Leap is a surprisingly busy play, which makes the flatness of the production particularly noticeable: the script is full of entangled plot lines and intersecting themes, often to its detriment. Continue reading →

Feb 20

A Wicked Awesome Tribute: “Make Way For Ducklings: the Musical”

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Presented by Wheelock Family Theatre
In partnership with Adventure Theatre MTC
Book by Sandra Eskin & Michael J. Bobbitt
Music and lyrics by William Yanesh
Adapted from the book by Robert McCloskey
Directed by Emily Ranii
Music directed by Jon Goldberg
Choreographed by Joy Clark 
Artistic Sign Language/ASL Coaching by Kelly Kim

Feb. 17 – March 12, 2023
Wheelock Family Theatre at Boston University
180 Riverway
Boston, MA 02155
Open Captioning provided at all events 
Accessibility Performance Dates: March 5th, 2023 at 2:00 PM and March 11th, 2022 at 2:00

Run Time: 70 minutes with no intermission

Review by Kitty Drexel

Boston, MA —Wheelock Family Theatre’s Make Way For Ducklings: the Musical celebrates all things great about Boston. Sandra Eskin, Michael J. Bobbitt, & William Yanesh’s musical (based on the book by Robert McCloskey) pays loving homage to the many ways our city amazes and confounds tourists, townies, and even the most stalwart of proud New Englanders. This theatrical tribute is intended for families of all ages. It will surely charm the meanest of Boston bruisers so adults without wee ones should feel free to attend but mind their manners when they do.  Continue reading →

Feb 13

Like Devils Over an Open Flame: “Sacre” by Circa

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Circa performers in “Sacre.” O Robert Torres for CSB

Presented by Celebrity Series of Boston
Commissioned by Merrigong Theatre Company.
Co-produced by La Comete
Created by Yaron Lifschitz and the Circa Ensemble
Based on Igor Stravinsky’s Le Sacre du Printemps (The Rite of Spring)
Music by Philippe Bachman & Igor Stravinsky
Directed by Yaron Lifschitz

Feb. 9-11, 2023
Boch Center Shubert Theatre
265 Tremont St
Boston, MA 02116

Review by Kitty Drexel

Production warning: This production uses theatrical haze, smoke, and strobe effects. There are sections where the music will be loud.

Boston, MA — Circa contemporary circus’ Sacre is to the circus what Igor Stravinsky’s Rite of Spring (Le Sacre du Printemps) is to classical music. History has refined their cultural significance. Neither are intended for children or the faint of heart. 

The gatekeepers of classical music remember the May 29th, 1913 premiere of Stravinsky’s Rite of Spring for its violent riot at the Paris Théâtre des Champs-Élysées. While there are no official accounts, personal accounts from opera composer Giacomo Puccini and Le Figaro critic, composer, and musicologist Henri Quittard (whose infamy lives on to this day), described the production in terms of its barbarism and inelegance.  Continue reading →

Feb 02

Beijing to Melbourne to Boston: “Made in China 2.0”

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Presented by ArtsEmerson
A Malthouse Theatre Production
Written & Performed by Wang Chong   
Codirected & Production designed by Emma Valente  
Codesigned by Emma Lockhart Wilson  
Dramaturgy by Mark Pritchard

February 1 – 12, 2023
American Sign Language Performance – Saturday, February 11 at 2:00 PM 
Audio Described Performance – Sunday, February 12 at 2:00 PM 
Emerson Paramount Center 
Jackie Liebergott Black Box 
559 Washington Street 
Boston, MA 02111

Recommended for Ages 16+
60 minutes, no intermission

Review by Kitty Drexel

Boston, MA — ArtsEmerson respectfully asked journalists attending Wang Chong’s Made in China 2.0 to please refrain from discussing certain topics in an email days before the performance. They did this to ensure Chong’s safety while he visits the US and when he eventually leaves the US. Boston can be dangerous. 

Journalists were encouraged to discuss Chong as an artist, his previous work, how his work was received, and his upcoming work. We were asked to be sensitive when discussing Chong’s style of theatre-making and why it’s considered risky. 

I readily agreed to ArtsEmerson’s request. Freedom of speech is important to me. The sanctity of human life is too. America loves freedom!  Continue reading →

Feb 01

Reach Out and Touch Someone: “Baby Jessica’s Well-Made Play”

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Presented by Pipeline Theatre Company
Written by Philip Santos Schaffer
Directed by Isabel Quinzaños Alonso
Performed by Mary Round
Dramaturgy by Anna Woodruff
Sound Design & Composition: Jorge Olivo
Stage Manager: Matt Engle
Producing Consultant: Stefanie Harris

Interested in tickets? Please read the FAQ!

February 1 – March 30, 2023
Your Phone/Zoom, Over 2 nights
From anywhere in the USA
Pipeline on Instagram

Review by Kitty Drexel

Your Phone — It is important for an audience member of Baby Jessica’s Well-Made Play to do some research before attending. I, like a dingus, thought I didn’t need to research the story behind Baby Jessica because she was in the news when I was a kid. 

Friends, I incorrectly thought this play would be hilarious. I was six when 18-month-old Jessica McClure was rescued after being trapped for 58 hours in an abandoned water well in Midland, Texas. Don’t be like me. Please at least the Pipeline Theatre FAQ.

It is very important to note that Baby Jessica’s Well-Made Play is an interactive, conversational play. It occurs over two (2) scheduled evenings. The first evening runs two and a half hours long (150 minutes) but the attendee should give themselves an additional half hour (30 minutes) for setup before the show starts. That is a total of three hours or 180 minutes.  Continue reading →