Jan 28

Stuck and Bored at the End of the Line: C1’s “Haunted”

Presented by Company One Theatre produced in partnership with the Boston Public Library with support from the National New Play Network and the Rolling World Premiere Program
Written, directed and choreographed by Tara Moses
Dramaturgy by Quita Sullivan
Fight choreography by Marisa Diamond
Community Advisor: Maria Hendricks

Jan. 24 – Feb. 15, 2025
Rabb Hall at the Boston Public Library, Central Branch
700 Boylston Street
Boston, MA 02116

Critique by Noelani Kamelamela

BOSTON — Comparisons between Tara Moses’ “Haunted”, Antoinette Nwandu’s “Pass Over” and Samuel Beckett’s “Waiting for Godot” are inevitable. So, yes, there are two main characters waiting for something in this play and amusing each other while they pass the time. I admit it. Fine. That’s it, that’s all I’m saying about those connections. 

Below the surface, “Haunted” brings to life two young indigenous ghosts, Ash (Bradley Lewis) and Aaron (Chingwe Padraig Sullivan), who are rooted in one place while it changes around them. They constantly opine and long for freedom. One of their comforts and constants, the well-known hits of the early 2000s, provides emotional escape, but also constant reminders of how stuck and bored they have become. Continue reading

Dec 03

Book Review: “The Director’s Voice, Volume 2”

The Director’s Voice: Volume 2
edited by Jason Loewith
TCG Books (Theare Communications Group)
Cover design by Mark Melnick
$22.00
www.tcg.org

Forward by Arthur Bartow, “The Director’s Voice”

Introduction by Jason Loewith, dramaturg, producer, playwright, director and Executive Director of the National New Play Network.

Includes interviews with Ping Chong, Anne Bogart, Julie Taymor, Mary Zimmerman, Michael Kahn and James Lapine, and many others.

Review by Kitty Drexel

Jason Loewith is filling some rather large shoes by editing and compiling the follow-up to Arthur Bartow’s “The Director’s Voice.” Loewith assures his audience that this second book is not a sequel but a continuation of the conversation started by the first. In it, he seeks to guide readers to a greater understanding of the director’s role as theater maker, actor ameliorator and money spender. Continue reading