Wheelock’s ‘Little Women’ Puts Family at the Center

February 8, 2020 Theater MirrorLeave a comment

(Cast of Wheelock Family Theatre’s ‘Little Women the Musical’ – Photos by Cydney Scott)

by Linda Chin

‘Little Women, the Musical’ – Book by Allan Knee; Music by Jason Howland, Lyrics by Mindi Dickstein; Based on the classic novel by Massachusetts author Louisa May Alcott. Directed by Nick Vargas; Music Directed by Jon Goldberg; Choreographed by Laurel Conrad. Presented by Wheelock Family Theatre through Feb. 24

In our disposable, highly stratified, screen obsessed culture it’s challenging to find live entertainment with enduring multigenerational appeal. Bringing an eclectic group of friends and neighbors (an eight year-old girl, her grandmother, college students, middle-aged men) to a Saturday night performance of Little Women, the Musical might have engendered complaint, but the show did not disappoint. In the capable hands of director Nick Vargas, musical director Jon Goldberg, choreographer Laurel Conrad and a talented cast of ten professional adult and young adult actors, Wheelock Family Theatre’s production was delightful, engaging and full of heart.

Huntington’s ‘Sweat’ – The Dark Side of American Dream

February 8, 2020February 11, 2020 Theater MirrorLeave a comment

*Cast of the Huntington Theatre Company’s ‘Sweat’ – Photos: T. Charles Erickson*

By Julie-Anne Whitney

Sweat – Written by Lynn Nottage; Directed by Kimberly Senior; Scenic Design by Cameron Anderson; Costume Design by Junghyun Georgia Lee; Lighting Design by D.M. Wood; Original Music and Sound Design by Pornchanok Kanchanabanca; fight choreography by Ted Hewlett; stage managed by Emily F. McMullen. Produced by the Huntington Theatre Company at 264 Huntington Avenue through March 1, 2020.

In 2011, intrigued by the news that Reading, Pennsylvania (population 88,000) was named the poorest city per capita in America, playwright Lynn Nottage went to Berks County in search of a story. Throughout the next two years, she interviewed dozens of factory employees, business owners, social workers, members of law enforcement, and government officials. These interviews inspired Nottage to write her Pulitzer Prize-winning drama, Sweat, which offers a transparent, unflinching view of what can happen to communities when powerful corporations prioritize profits over people.

The Tension and Release of “Detroit Red”

February 7, 2020 Theater MirrorLeave a comment

(Eric Berryman in ArtsEmerson’s ‘Detroit Red’)

By Michele Markarian

“Detroit Red” by Will Power. Directed by Lee Sunday Evans. Presented by Arts Emerson, Emerson Paramount Center, 559 Washington Street, Boston, through February 16.

A tense, noir-ish film clip of a man holding a gun in a downtown Boston jewelry store is superimposed across the stage. “It takes point two seconds for a gun to respond to your finger’s light touch”, begins the twenty-year old Malcom Little, aka Detroit Red, at the top of the world premiere of “Detroit Red”, which covers the years the young Malcolm X lived in Boston. His early life was troubled – a murdered father, a mother who suffered a nervous breakdown, an older sister with health complications – and his struggle to find his place in the world is marred by his treatment at the hands of white people.

Trinity Rep’s ‘Radio Golf’ Brilliantly Examines Price of Success

February 6, 2020 Theater MirrorLeave a comment

*Ricardo Pitts-Wiley, Joe Wilson Jr. and Omar Robinson in Trinity Rep’s ‘Radio Golf’ (L to R)*
*Photos by Mark Turek*

Reviewed by Tony Annicone

Trinity Repertory Company takes us to Pittsburgh, PA with their current show, “Radio Golf” which is the last of August Wilson’s 10 play cycle of African-American life in the 20th Century. Set in 1997, the play starts with Harmond Wilks announcing his run for Mayor of Pittsburgh. Wilks is also the driving force behind the redevelopment business, Bedford Hills Redevelopment, which plans to use Federal money to clean up the “blight” in this neighborhood. His business partner is Roosevelt Hicks, a banker. Hicks listens to a white businessman who influences him to invest in a radio station and wants him to gain control of the BHR. Hicks is also addicted to golfing, and runs golf camps for children. Wilks wife, Mame is extremely interested in becoming the First Lady of Pittsburgh and supports him heartily in his run for the Mayor while organizing his PR and various appearances.

NEW ENGLAND THEATER’S 2019 SEASON OF LOVE

February 5, 2020 Theater MirrorLeave a comment

*Cast of Ogunquit’s ‘Cabaret’ Photo-by Gary Ng*

How do you measure the year’s best moments?

by Linda Chin

The divisiveness that has defined American politics since 2016 (and hasn’t let up in 2020) has left me (and others) feeling anxious, depleted, fearful and hopeless. Theater has provided welcome (albeit temporary) respites from a pounding media headache as well as the longer-acting benefits of keeping empathy and understanding in our narratives and creativity and human connection in our lives. I was particularly grateful for last year’s abundance of productions with music and for the range of musical styles – 90s R&B, 60s psychedelic surf rock, gospel, classic show tunes – and for the musicians (in the orchestra pit or on stage) playing live, and for music’s healing qualities. And watching an ensemble erupt into dance – whether Fosse or gumboot, ballet, Asian-influenced or 21 pairs of tapping feet – can make my mood lighter and gray moments brighter for days.

It’s a Mad, Mad (Victorian) World in Central Square’s ‘Vanity Fair’

February 5, 2020 Theater MirrorLeave a comment

Cast of Nora Theatre’s ‘Vanity Fair; at Central Square Theatre

By Julie-Anne Whitney

Vanity Fair (an im-morality play) – Written by Kate Hamill, adapted from William Makepeace Thackeray’s novel; direction and scenic design by David R. Gammons; lighting design by Jeff Adelberg; sound design by David Wilson; costume design by Leslie Held; properties coordinated by Ciara McAloon; dramaturgy by Hilary Rappaport; stage managed by Elizabeth Yyvette Ramirez. Produced by Underground Railway Theater through February 23, 2020 at Central Square Theater in Cambridge, MA.

William Makepeace Thackeray’s Vanity Fairwas first published in 1847 as a 19-volume serial novel released in monthly installments for Punch, a British magazine known for its satirical content. The 800-page work was published in a single volume in 1848 with the subtitle A Novel Without A Hero. Arguably Thackeray’s most successful and enduring work, Vanity Fair has been adapted into radio broadcasts, silent and sound films, television series, and plays.

Praxis Stage Sets the Crown on King John

February 5, 2020 Theater MirrorLeave a comment

Michael Underhill as King John in Praxis Stage’s ‘King John’

Review by James Wilkinson

‘King John’ – Written by William Shakespeare. Directed by Kimberly Gaughan. Assistant Director: Elena Toppo. Lighting: Erik Bailey. Sound/Music Design: Kimberly Gaughan and Daniel Boudreau. Presented by Praxis Stage at the Calderwood Pavilion at the Boston Center for the Arts January 30-February 16, 2020.

You’re not going to catch me arguing everything that ever fell out of Shakespeare’s head reeks of brilliance. The man may have hit unparalleled levels of artistic genius, but every artist has an off day. Trust me, Shakespeare had several. I’m always confused when I see notices for productions of The Comedy of Errors because its existence means at least two people got together in a room and said, “This is going to be good.” (I promise you, it won’t) There’s a flip side to that coin, though, underrated plays that don’t see nearly as many productions as their more notable counterparts. (There’ll always be a special place in my heart for the outright lunacy that is Titus Andronicus.) Praxis Stage’s new production makes the argument that King John belongs in that latter category and it’s damn strong one at that. It’s not a perfect production, but I’m going to go ahead and dump most of the flaws it has on the shoulders of Shakespeare. In any case, the positives with Praxis’ production vastly outweigh the negatives. There’s a hipness to it, an inner groove that you succumb to. It slinks right up and before you can say a word, lights your cigarette then vanishes. The move is so effortlessly cool that it’s only later you realize you probably shouldn’t be smoking.

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

February 1, 2020February 1, 2020 Theater MirrorLeave a comment

*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.

Fresh Ink’s Last Catastrophist Goes to the Edge

January 30, 2020 Theater MirrorLeave a comment

*Evelyn Holley as Marina and Shanelle Chloe Villegas as Lucia in Fresh Ink’s ‘Last Catastrophist’ Photos by Paul Fox*

by James Wilkinson

‘Last Catastrophist’– Written by David Valdes. Directed by Sarah Gazdowicz. Scenic Design Andrew Kolifrath. Lighting Design: Read Davidson. Costume Design: Erica Desautels. Sound Design: Vinny Laino. Prop Design: Lauren Corcuera. Fight Choreographer: Marge Dunn. Presented by Fresh Ink Theatre at the Plaza Black Box Theatre at the Boston Center for the Arts January 24-February 8, 2020.

Fresh Ink Theatre’s Last Catastrophist is a play with two eyes going in two different directions. On one side, it’s a sort of odd couple buddy comedy. Two protagonists, ones with polar opposite personalities, are forced together on a journey which is designed to bring them closer together as they slowly learn to trust each other. On the other side of the equation, Last Catastrophist is a paranoia-soaked conspiracy eco-thriller, one that takes place in a future perhaps only a few years away from where we are now. A grim fate awaits humankind somewhere down the road and the audience is left to decide if it’s one they want to try and steer away from. I think that the play is ridiculous, but before you tune out, I need to stress that I don’t mean that as a negative. Conspiracy stories by their very nature are ridiculous because the characters in them are extrapolating their circumstances in all kinds of improbable ways. Everything seems crazy to us until the characters’ worst fears are proven to be true. The world is out to get them after all. I bring this up because yes, Last Catastrophist is ridiculous, but it uses its ridiculousness in a knowing way. It leans into it to find its own unique sensibility and unpack the comic possibilities. That’s what’s kind of exciting about it. For the bulk of its run time (more on that in a bit), the theatrical stars of direction, performance, design and writing are aligning in a wonderful kind of way and the production hits on something fresh.

ASP’s ‘Bright Half Life’ Shines Light on All Too Rare Love Story

January 27, 2020January 28, 2020 Theater MirrorLeave a comment

Lyndsay Allyn Cox, Kelly Chick in ASP’s ‘Bright Half Life’ – PHOTO CREDIT NILE SCOTT STUDIOS

By Julie-Anne Whitney

‘Bright Half Life’ – Written by Tanya Barfield; Directed by Megan Sandberg-Zakian; Scenic Design by Cristina Todesco; Lighting Design by Aja Jackson; Sound Design by Elizabeth Cahill; Costume Design by Zoe Sundra; Stage-managed by Lauren Burke. Presented by Runs through February 16, 2020 at the Plaza Theatre, Boston Center for the Arts.

How many times have you been in the theater and seen two women on stage who happen to love each other? Think about it for a minute and you’ll probably realize it’s a pretty low number.

There are several well-known plays which discuss or highlight LGBTQ+ characters such as The Children’s Hour (1934), The Boys in the Band (1968), The Normal Heart (1985), I Am My Own Wife (1992), Angels in America (1992), Stop Kiss (1998), The Laramie Project (2001), Indecent (2017), and The Inheritance (2018), among others. There are also a few popular musicals which feature LGBTQ+ characters such as La Cage aux Folles (1983), Falsettos (1992), Rent (1996), Hedwig and the Angry Inch (1998), The Color Purple (2005), Kinky Boots (2013), Fun Home (2015), and Jagged Little Pill (2018). But not one of these pieces features two women who love each other as the central focus of the story, and who are given the time to express their love for more than just a song or a couple of scenes. This is why Tanya Barfield’s Bright Half Life is an overdue breath of fresh air. A 65-minute play about the 40-year relationship between two women is a rare gift – one I have been waiting to receive nearly all of my life.