153 stories by "Ian Thal"
The Convert is a complex historical drama that shows us individuals crushed among powerful contradictions.
The Housekeeper may be too conventional for its own good, but it is intelligently crafted and engagingly entertaining.
It is strange that Citizens of the Empire is so weirdly lame, given that it has been in development for quite a while now.
The ASP's superb production of The Winter's Tale provides a unusually deft fusion of tragedy and comedy.
The timeliness of this staged reading made for one of the most heated and engaged talk-backs for any of the presentations in Israeli Stage's six-year history.
Dramatist Katori Hall's narrative unfolds with few surprises: every revelation, every secret, every comeuppance is foreshadowed.
David Ireland's use of coded sectarian language helps him paint a vivid picture of the Belfast his characters call home.
Despite the dazzling rewards of this virtuoso Underground Railway Theater production, Copenhagen short circuits its central theme.
The laughter in the production serves a useful purpose: it distract us from the serious narrative problems in Caryl Churchill's script.
Wesley Savick not only does a fine job of adapting Alan Lightman's text, but in his role as director he squares the circle: his stage version runs like clockwork yet breathes like an organic…
ASP director Bridgette Kathleen O'Leary chooses a nuanced approach to Othello that hews closely to the text.
This show's rousingly eclectic score is considerably more progressive than what is typical of our determinedly conservative modern musical theater genre.
Membership in academe comes down to those who never wanted to leave the comforts of college or those who see it as a place to score big.
The New Repertory Theatre is paying homage to Arthur Miller's centennial with a superb staging -- a Boston-area premiere -- of one of the dramatist's later works, Broken Glass.
The Winter's Tale's odd structure and hybrid genre is a challenge to modern directors and audiences alike.
What sets Double Edge Theatre apart from other troupes is that it has always forged an intimate link between the world of physical theater and the world of literature and ideas.
The script's suggestion of mythological violence elevates Eyes Shut. Door Open. above the formulaic "dark domestic secrets revealed at a family reunion" plot line.
Dramatist Laurence Carr has a gift for vivid characterization and for creating a concrete sense of time and place.
Happy Medium Theatre's powerful production is a testament to how the artists in our area are triumphing over the economic adversity.
In truth, Three is not much of a play at all, but an anthology of "very special episodes" of an unproduced television or web series.
Rarely are Boston's stages graced with a Shakespeare production that reaches this high a level of accomplishment.
With Julius Caesar, Bridge Repertory shows that it can assemble a strong ensemble and put together a memorable sensory experience.
At first, The Submission comes on as an agreeably edgy satire of the automatic embrace of identity politics and political correctness in the academy and popular culture.
Ronan Noone's allegedly frisky sex farce turns out to be geriatric.
The Whole World focuses on the incoherence that lurks underneath the empowering narratives we tell about ourselves.
