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Allegra Libonati has assembled a mostly excellent cast for what at first glance should be an evening of quality Bardic entertainment.
Mortals would be foolish to miss the ASP's version of Shakespeare's Dream.
The source material -- and the skills of Tennessee Williams’ posthumous collaborators -- provides an evening of compelling theater.
Debra Wise's stellar turn is not only a reflection of her long stage career, but a testament to the breadth of her experience.
Apollinaire Theatre Company has done delightful justice to this zesty rejuvenation of a didactic dramatic chestnut.
Questioning Joshua Sobol’s right to write about these kinds of intimate atrocities is to suggest that stages should never address these issues.
With each piece, the impressive physicality of Kodō's drummers becomes even more theatrical.
This is a wonderful production of an important play that still has a dog in the fight.
Jeffrey Sweet has provided a handy oral history of the ways playwriting has changed over three generations.
Marlowe's skill in maintaining a high level of complexity put the history play on a sophisticated footing.
Informed Consent is the smartest play I’ve seen hit Boston area stages since the new year began.
Askins’ script is an amusing mash-up of sex comedy and supernatural horror parody, drawing on puppetry's subversive potential to externalize the repressed.
Brilliant Adventures is an intriguing combo of realism and fantasy by an obviously talented dramatist.
All in all, Allyn Burrows has assembled a solidly entertaining production of a perennial Shakespearean favorite for the winter season.
The Underground Railway Theater serves up an hour and fifteen minutes of enchantment.
Carrie J. Preston refuses to characterize these cultural exchanges in moralistic or narrowly political terms.
Though Kenneth Lin wrote Warrior Class in 2012, it is easy to see its resonances with the 2016 election cycle.
Alice Birch's play/polemic about radical feminism resists Company One's earnest-to-the-max interpretation.
In this innovative production, Hamlet comes off as Shakespeare's most successful genre mash-up of tragedy and comedy.
Romana Lisa Alexander's impressive talent for chameleonic invention is well-suited to this demanding script.
Eight by Tenn offers eight stories whose psychological depths and linguistic riches rival those of most full-length plays.
Bread & Puppet Theater's world of anthropomorphized trees and talking toilets is often funny, sometimes beautiful, and always memorable.
The Emperor of the Moon is a boisterous bit of family friendly late-afternoon entertainment under Shakespeare & Company's Rose Footprint Tent.
Shakespeare & Company's staging of Merchant of Venice is the strongest this critic has ever seen or could hope to.
Apollinaire Theatre Company has expanded the possibilities of finding first-rate outdoor Shakespeare in the Boston area.
Those seeking whimsical and intimate theatrical entertainment should take in this imaginative production.
The 7 Fingers can be depended on to fill everyone's belly with spectacle.
In this splendid exhibition, Leon Steinmetz displays a deep appreciation of the complexity of commedia dell'arte.
Wild Williams is a marvelous antidote for the formulaic.
When it comes to dramatic debate, balanced parry and thrust are paramount.
Maureen Keiller and Will Lyman have performed numerous staged readings of Oh God and their intimate knowledge of the text shows.