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There's a lot of love in the Lyric Stage Company’s production of Stephen Sondheim’s 1970 Tony Award winning show, Company.
Summer theater musicals often accentuate the frivolous, but the GSC production of Songs for a New World demands more.
“Circus artists aren’t the best actors,” Shana Carroll notes, “it’s not their thing."
Audiences for Liz Callaway can expect to hear faithful interpretations of these now familiar hit songs, but also expect the unexpected.
Based on a graphic novel, the brilliant Historia de Amor is unrelenting in its darkness. It’s as if we’re swimming in a pool of India ink.
Let no one accuse the Boston theater community of being moribund.
Bootycandy is sharp-witted and entertaining -- but thoroughly sugary.
August Wilson's dramatized autobiography, thanks to the magnificent actor Eugene Lee, is a stirring experience.
Mavis Staples' voice and stage presence still exude power, still plumb emotional and spiritual depths.
The New York Times columns selected for Think Again are engaging, provocative, maddening, humorous, and insightful.
Via Dolorosa is essentially a work of reportage: it would have been more effective if it had taken the form of a travel essay rather than a performance piece.
This one-man comic extravaganza about the dizzying spell of celebrity is a welcome respite from the annual bombardment of holiday joyrides.
A bewitching South African version of Bizet's opera -- performed with a distinctive blend of spunk and sass.
Casa Valentina's dramatic weight comes from how skillfully the cast explores the tensions that swirl about the subject of who is gay, who is straight, and what is legal.
A Measure of Normalcy pays more attention to its many themes than its characterizations..
Meow Meow milks the audience for applause so often it feels as if we are seated on stools in a dairy barn.
Matthew Teitelbaum, 59, may be among the most reluctant employees the Museum of Fine Arts, Boston has hired.
Gloucester Blue is a lively play whose glow is generated by the spirited, tragicomic performances of a cast that obviously delights in performing it.
In appropriate, a talented young playwright turns mischievous literary homage into a work of exhilarating entertainment.
You should see GSC's The Flick, but be warned that the drama works in spurts and starts
James Tate remains true to himself. These prose-poems are often stellar, harrowingly distinctive, and worthy of repeat visits.
Like Sanuel Beckett, Enda Walsh does not ignore the tenderness that flourishes, often under the duress of absurdity.
While 887 explores the political, historical, and cultural ramifications of centuries-old racism, Robert Lepage never pander to victim mentality polemics.
Out of Sterno punches the same punchline far too often.
The Aga Khan Museum should also be appreciated as a source of inspiration at a time when the civilization that produced its art has become horrifically vulnerable.
Richard Nelson does not compel us to pay attention to his characters' psychological disclosures, and his reluctance to underline is refreshing.
Mothers & Sons raises important questions about struggle, acceptance, and love, dramatizing battles that are still being waged.
Despite the well-intentioned efforts of the cast, Eli Wiesel’s words were lost in space.
“It is just when we delve deeper into the sorrows of our lives, the sorrows we have all endured, that our humor saves us."
Culture Clash's view of America will discomfort, which is all the more reason that I urge you -- strongly -- to attend.
To call the American Visionary Art Museum quirky would be an understatement: therein lies its charm as well as one of the reason for its success, even in economic hard times.