Tag Archives: March

Mar 19

Rebel When You Hear the Drums: THE COLORED MUSEUM

Posted on by
Photo: T. Charles Erickson. — at Huntington Theatre Company.

Photo: T. Charles Erickson. — at Huntington Theatre Company.

Presented by the Huntington Stage Co.
by George C. Wolfe
Directed/choreographed by Billy Porter
Music direction and arrangement by James Sampliner

March 6 – April 5, 2015
Avenue of the Arts
Boston, MA
Huntington on Facebook

Review by Kitty Drexel

The Colored Museum is two hours short and presented without an intermission.

(Boston, MA) The majority of Black culture accessible to White people is appropriated into easily digestible, tepid hunks that wouldn’t scare a baby much less a conservative one percenter who thinks that an Azealia Banks is a deciduous shrub. The Colored Museum is like a trip on Disney’s It’s A Small World if the ride were devoted to the culture pacifying White people instead of world peace. It’s a powerful display of stereotype and the bleak truths that cement them into western society. Those with an understanding of race relations and the systematic control racism has on these relations will likely enjoy the romp. Those who think discussing race with their Starbucks barista is equal to having a race relation will have their mind blown. Continue reading →

Mar 16

Inclusive and Intersectional: THE TASTE OF SUNRISE

Posted on by
Photo by Craig Bailey, Perspective Photo.

Elbert Joseph as Tuc in Mother Hicks at Emerson Stage. Photo by Craig Bailey, Perspective Photo.

Presented by Wheelock Family Theatre
Written by Suzan L. Zeder
Composed by Peter Stewart
Directed by Wendy Lement and Kristin Johnson
Choreographed by Patricia Manalo Bochnak

March 13 – 22, 2015
200 The Riverway
Boston, MA
Wheelock on Facebook

PART TWO OF THE WARE TRILOGY, produced with Emerson Stage (Mother Hicks, February 2015) and Central Square Theatre (The Edge of Peace, April 3-12, 2015)

Review by Kitty Drexel

(Boston, MA) In Susan Zeder’s The Taste of Sunrise, Tuc (Elbert Joseph) grows up poor, black and deaf in an ASL-ignorant hearing community in Ware, IL.  At the behest of the well-intentioned Dr. Graham (Donna Sorbello), Jonas Tucker (Cliff Odle) sends Tuc to a school for the deaf to learn how to speak. After years of social solitude, he finally meets kids just like him. They teach him sign; Tuc learns to communicate and to express himself. With help from friends Maizie (Amanda Collins) and Nell Hicks (Brittany Rolfs), discovers what it means to self-discover, to lose and then rebuild one’s identity. Continue reading →

Mar 10

A Salute to Modern Standards: ALLOY ORCHESTRA’s “The Son of the Sheik”

Posted on by
(c) Ivan Singer

(c) Ivan Singer

Presented by World Music/CRASHarts
Box 5 Productions
Directed by Ken Winokur
Performed by Ken Winokur, Roger Miller, Terry Donahue
Performing live to The Son of the Sheik

Saturday, March 7, 2015
Somerville Theatre
Davis Square
Somerville, MA
World Music/CRASHarts on Facebook
Alloy Orchestra on Facebook

Review by Kitty Drexel

Info about “The Son of the Sheik” can be found here.

(Somerville, MA) To sum up, “The Son of the Sheik” is a silent film starring the classically handsome Rudolf Valentino in his last role. He plays both Ahmed, the Sheik’s son, and the Sheik. Ahmed falls madly in love with a penniless yet beautiful dancing girl, Yasmin (Vilma Banky). Yasmin’s thieving father (Bull Montana) and his nasty band capture and rob Ahmed. They convince the gullible lover that Yasmin only loves him for his money. After daring adventures across the desert sands, Ahmed rescues Yasmin and takes her post haste to the Casbah. Continue reading →

Mar 09

The Harm that Lust Can Do: TRISTAN & YSEULT

Posted on by
overs Tristan (Dominic Marsh) with Yseult (Hannah Vassallo) Kneehigh’s Tristan & Yseult Photo by: Richard Termine

Lovers Tristan (Dominic Marsh) with Yseult (Hannah Vassallo).  Photo by:Richard Termine

Presented by ArtsEmerson
Directed and adapted by Emma Rice
Written by Carl Grose & Anna Maria Murphy
Performed by Kneehigh Theatre Company
Composed by Stu Barker
Sweet Band: Lizzy Westcott, Justin Radford, Pat Moran, James Gow

March 5 – 15, 2015
Cutler Majectic Theater
Boston, MA
ArtsEmerson on Facebook
Kneehigh on Facebook

Review by Kitty Drexel

(Boston, MA) In 2006 Twentieth Century Fox released a film bastardization of the Tristan and Isolde myth, Tristan & Isolde. It was headlined by James freakin’ Franco, directed by Kevin Reynolds, and produced by Ridley Scott. It was terrible but sweet, innocent youths flocked to the theater because, then “It” boy, James Franco (Tristan) participated in naked sexy times with Sophia Myles (Isolde) and they wanted to see it. These poor kids assumed that T&I were star crossed lovers with good intentions and bad luck. The truth lives thousands of miles away from the inane crud Reynolds and Franco brought to screen.

Kneehigh Theatre Company’s Tristant & Yseult presents a more true interpretation of the medieval French tale. Tristan (Dominic Marsh with a dodgy French accent), Yseult (Hannah Vassallo) and King Mark (Stuart Goodwin) are caught in a love triangle. Tristan loves and serves the English King Mark like a father. In return, Mark loves Tristan like a son. After defeating the Irish royal Morholt (Niall Ashdown),  Tristan sails to Ireland to capture Morholt’s sister, the fair Yseult, and bring her back to England at Mark’s behest. Upon seeing her for the first time, both men fall deeply in love with Yseult. Yseult gives her sensible heart to Mark but her hormonal lady bits to Tristan. The actions are narrated by the elegant White Hands (Kirsty Woodward) and the patrons of the Club of the Unloved, the omniscient ensemble dressed in snoods, thick glasses, and windbreakers (snood dudes). There’s betrayal and laughs aplenty. Continue reading →

Mar 09

Infanticide: The Musical : SHOCKHEADED PETER

Posted on by

­­

Photo Credit- Liza Voll

Photo Credit- Liza Voll

Presented by Company One
Created for the stage by Julian Courch and Phelim McDermott
Original music and Lyrics by The Tiger Lillies
Adapted from Heinrich Hoffmann’s The Struwwelpeter
Music Direction by Walter Sickert
Directed by Steven Bogart
Featuring Walter Sickert and the Army of Broken Toys

March 6 – April 4, 2015
Modern Theatre at Suffolk University
525 Washington Street Boston, MA
Company One on Facebook
Walter Sickert and the Army of Broken Toys on Facebook

Review by Danielle Rosvally

(Boston, MA) All the macabre poetic whimsy of Edward Gorey combined with the nostalgic cartoony lines of Disney’s Haunted Mansion are on display in Company One’s Shockheaded Peter. Fans of local band Walter Sickert and the Army of Broken Toys will recognize the musical style of this production, and new aficionados are in for a treat. The Toys bring their incredible sense of boisterous musicality and penchant for dark themes to this ninety minutes piece that marries puppetry with physical performance to create a poetic ode to infanticide. Continue reading →

Mar 03

There Ain’t Nothin’ Like A Dame: THE MOUSETRAP

Posted on by

mousetrap_logo

Presented by Theatre@First
Written by Dame Agatha Christie
Directed by Michael Haddad

Feb. 27 – March 7, 2015
Unity Church
6 William Street
Somerville, MA
T@F on Facebook

Review by Kitty Drexel

In the interest of full disclosure and transparency, I have worked with Theatre@First as an actor and as a crew volunteer. It is my firm belief that only a narcissistic ass would allow something like that to color their review.

(Somerville, MA) If you can’t keep a secret, chances are that you’d make a terrible murderer but a great victim. Seymour R. Goff’s famous advert for Seagram Distillers Corporation cautioned that “loose lips might sink ships.” It was in use by 1942 by the US Office of War Information. Across the pond, British allies were told to “keep mum” lest their thoughtless chatter accidentally leak information to Nazi sympathisers. The wartime influenced Mousetrap (1952), was rewritten as a radio play called Three Blind Mice (1947) after originally being written as a short story, argues quite strongly for keeping personal, potentially damning information quiet. It makes a very strong case for background checks. As for the guests staying at Monkswell Manor, they likely would have survived unscathed had they checked references and kept their noses clean. Continue reading →

Feb 26

Icy Distance in Apollinaire Theatre Company’s GREENLAND

Posted on by
Photo credit: Apollinaire Theatre Company

Photo credit: Apollinaire Theatre Company

Presented by Apollinaire Theatre Co.
By Nicholas Billon
Directed by Meg Taintor

Feb. 20 – March 15, 2015
189 Winnisimmet Street
Chelsea, MA 02150
Apollinaire on Facebook

Review by Gillian Daniels

(Chelsea, MA) One of the more terrifying aspects of climate change is its irreversibleness.  Once the environment has altered, it’s impossible to get the world back to where it was.  In Nicolas Billon’s 60-minute Greenland, we don’t only contemplate the fragility of the planet but the family unit.  The irreversible change that befalls Tanya (Charlotte Kinder), her uncle Jonathan (Dale J. Young), and her aunt Judith (Christine Power) is smaller than global warming but, in the show, just as brutal. Continue reading →

Feb 24

The Intimacy of Lingerie: INTIMATE APPAREL

Posted on by
Photo by Glenn Perry.

Photo by Glenn Perry.

Presented by Lyric Stage Company of Boston
Written by Lynn Nottage
Directed by Summer L. Williams
Music directed/compositions by Allyssa Jones

Feb. 13 – March 14, 2015
140 Clarendon St
Boston, MA
Lyric Stage on Facebook

Review by Kitty Drexel

(Boston, MA) Intimate Apparel is a complicated show that discusses history, race, class, education, and gender in approximately two hours. It is summarized as being a play about a seamstress who crafts fancy underpants. She plans to open a beauty parlor but marries a man she’d only met through letters. It is so much more. Nottage gives a face to the women that history so frequently forgets: the sex workers, the day laborers, the socialites. The history books are filled to capacity with men who’ve changed history. Continue reading →

Feb 24

Because He Could: ALBATROSS

Posted on by

10464162_321959718011706_7633464398462224306_n

Presented by the Poets’ Theatre in collaboration with Ocean Conservancy
Directed by Rick Lombardo
Written by Matthew Spangler & Benjamin Evett
Based on “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge
The poem can be read here.

Feb. 13 – March 1, 2015
The Jackie Liebergott Black Box Theatre
Emerson/Paramount Center
Boston, MA 02111
Poets’ Theatre on Facebook
Ocean Conservancy on Facebook

Trigger Warnings: graphic violence, harsh language

Review by Kitty Drexel

(Boston, MA) Disney’s Captain Jack Sparrow is a poster boy for pirates. He’s grimy, clever thief with a heart of tarnished gold. Jack likely smells rank but has an unmistakable charisma that drives audiences  wild. Some want to be him; some want to f^ck him, etc. It’s no wonder that this franchise made so much money.

Sparrow is a lie. He is the Hollywood equivalent of a romantic adventure on the high seas with creatures great and majestic during a time that never was. Pirates are not charming; they are brutal criminals capable of unthinkable acts. Historically, pirates sailing the Atlantic sacked and ravaged rival merchant ships. Cruelty was de rigueur. Continue reading →

Feb 23

Crying Uncle: UNCLE JACK

Posted on by

10929149_10152928903511072_1633828632893124184_nPresented by Boston Center for American Performance and Boston Playwrights’ Theatre
Written and Directed by Michael Hammond
Adapted from the play by Anton Chekhov

February 12 – March 1, 2015
BU Theatre, Lane-Comley Studio
264 Huntington Avenue, Boston
Boston Playwright’s Theatre on Facebook

Review by Danielle Rosvally

(Boston, MA) You know, I’ve never noticed it before, but there really is something innately Chekhovian about major summer-stock theatres (particularly in the New England Area). Out in the wilds of Western Massachusetts, a seasonal culture abounds. Large, stately mansions (mostly empty during the rest of the year) stand ready to receive their visitors; high-status patrons, family dear and estranged, and random acquaintances who have long been treated as family. The constant financial difficulties that running these estates entails weave through life upon them like a second soul. The back-to-nature feel of the Berkshires where city-slicker actors arrive to work, to fall in love, and to torment the people who call this big empty place “home” the rest of the year could very well be a cherry orchard or a provincial Russian estate. The incestuous, teeming nature of a long-standing summer-stock company almost reeks of Chekhov; the half-forgotten love affairs, the misbehavior that will never be spoken of again, and the half-cocked gun on the mantelpiece just waiting for its Act Four moment…. Continue reading →