“Hype Man” (Still) Exceeds the Hype

(Michael Knowlton, Rachel Cognata iand Kadahj Bennett in A.R.T./Company One’s ‘Hype Man’ – Photos by A.R.T.)

by Mike Hoban

“Hype Man: a break beat play” – Written by Idris Goodwin. Stage version originally directed by Shawn LaCount. Filmed version co-directed by John Oluwole ADEkoje and Shawn LaCount. Cinematography by The Loop Lab. Animation and illustrations by Barrington Edwards. Presented by Company One Theatre and American Repertory Theater. Available for streaming through May 6. For more information and tickets, go to: https://americanrepertorytheater.org/shows-events/hype-man-2021/

When Idris Goodwin’s electrifying and poignant work, Hype Man: a break beat play, had its world premiere back in 2018, a number of the names of the unarmed black citizens who had died at the hands of white police  in the preceding years – Freddie Gray, Philando Castile, Sandra Bland, Walter Scott, Michael Brown – had already become household names. Unfortunately, by the time a filmed version of the play began streaming last week, nothing had been done to slow the growth of this appalling list, which has instead exploded. The sickening murder of George Floyd last Memorial Day led to the world-wide protests of last summer (the largest in the history of the U.S.), and appeared to wake up the populace to this disturbing reality as even large, conservative corporations began to publicly support the Black Lives Matter movement.

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The Iconic and Timely Message of ‘Gloria: A Life’

The cast of ‘Gloria: A Life’ at the A.R.T. – Photos: ©APrioriPhotography.com

By Michele Markarian

“Gloria: A Life” – Written by Emily Mann. Directed by Diane Paulus. Presented by American Repertory Theater, Loeb Drama Center, 64 Brattle Street, Cambridge, through March 1

“Social justice movements start with people siting in a circle,” Gloria Steinem (Patricia Kalember) informs the audience sitting in the round at American Repertory Theater at the beginning of Gloria: A Life. A shy woman who wanted to become a political journalist, Steinem became an unlikely spokesperson of the women’s movement. For those of us who grew up in the 60s and 70s, Steinem was our touchstone, the person who, unflappable and balanced, represented all that we were becoming. Her book, “Outrageous Acts and Everyday Rebellions” was de rigeur feminist reading in the 80s. Yet, as is unfolded during the 100 minutes of Gloria: A Life, she was supported and pushed by many insistent and persistent female voices, including ours. 

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Asian Stories, Artists Finding Home on Stages of Greater Boston

(First Read-Through for Company One’s Vietgone)

By Linda Chin

Lunar New Year 2019 brings good fortune to Greater Boston theatergoers hungry for stories about Asian culture, and the growing pool of talented and experienced theater artists of Asian heritage. To those producers/artistic directors creating these opportunities on professional stages, a simple xie xie (thank you, e.g. when someone passes you the salt at dinner) isn’t a big enough expression of gratitude.

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ART/Company One’s ‘Miss You Like Hell’ a Musical Latina Road Trip

by Mike Hoban


‘Miss You Like Hell’ – Book & Lyrics by Quiara Alegría Hudes; Music & Lyrics by Erin McKeown; Directed by Summer L. Williams; Music Director: David Coleman; Scenic Designer: Erik D. Diaz; Costume Designer: Danielle Domingue Sumi; Lighting Designer: Justin Paice; Sound Designer: Rachel Neubauer. Co-produced with American Repertory Theater as part of the A.R.T. Breakout Series at Oberon, 3 Arrow St. Cambridge through January 27.

Company One and the A.R.T. couldn’t have picked a better time to stage Miss You Like Hell, a mother-daughter road trip musical by Pulitzer Prize-winning playwright Quiara Alegria Hudes (who also wrote the book for the Tony Award-winning In the Heights) and singer-songwriter Erin McKeown. With the anti-immigrant rhetoric being spewed on a seemingly daily basis throughout the midterms and into the New Year by the president and his supporters, the plight of the undocumented in this country is top of mind for many – and front and center of this flawed but entertaining work.

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A.R.T.s “Arrabal” Electrifies

 

By Mike Hoban

 

Arrabal – Book by John Weidman; Music by Gustavo Santaolalla/Bajofondo; Choreographed by Julio Zurita; Directed and co-choreographed by Sergio Trujillo; Choreography by Julio Zurita; Scenic Design by Riccardo Hernandez; Costume Design by Clint Ramos; Lighting Design by Vincent Colbert; Sound Design by Peter McBoyle; Projection Design by Peter Nigrini. Presented by the American Repertory Theater at the Loeb Drama Center, 64 Brattle St., Cambridge, through June 18

 

It may be relatively early in the 2017 theater season, but it seems highly unlikely that anything you will see on Boston stages (or anywhere else) this year will pack the kind of visual, aural and emotional wallop that Arrabal – now making its United States premiere at the American Repertory Theater in Cambridge – will deliver to the senses. This tango-based work combines Latin music and dance with a horrific (and true) political story to create a singular theatrical experience that is alternately steamy and harrowing.

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