Kilian Melloy Interviews Playwright Ins Choi, whose play, ‘Kim’s Convenience,’ opens at The Huntington

Ins Choi

Playwright Ins Choi was born in South Korea and emigrated to Canada with his family as an infant. Taking to theater at an early age, he participated in his high school’s plays and later graduated from York University with a degree in theater, then worked with Toronto’s fu-GEN, self-described as an “Asian Canadian Theatre Company.” Turning to writing, he authored Kim’s Convenience, a play about a family of Korean immigrants in Toronto headed by a stubborn patriarch, with an understanding mother (Umma) and two adult children — the artistic, still-single Janet, and estranged son Jung — rounding out the family. The play explores a clash of cultural expectations, as Appa — “Dad” or “Daddy” in Korean, the only name he’s given in the play — attempts to assert his authority not only in the store (where he’s quick to discern which customers are likely to shoplift, his profiling inevitably veering into problematic territory) but also in the lives of his offspring. Stubborn, but ultimately loving, Appa is the pillar around which the family centers, despite the estrangement between himself and Jung.

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Theater Mirror’s Kilian Melloy Interviews Arlekin Players’ Igor Golyak on Bringing Back ‘The Dybbuk’ for an Encore

Arlekin Players’ Igor Golyak

Igor Golyak, the leader of Arlekin Players, is set to oversee the return of his adaptation of Roy Chen’s modern version of the classic S. Ansky play The Dybbuk to Boston. The play was a sensation last year, thrilling audiences and earning accolades, including an Elliot Norton Award for Outstanding Production. Now it returns to Beacon Hill’s Vilna Shul, the site of its earlier run — a venue that, Golyak explains in our interview, has significant resonance.

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Speakeasy’s ‘Lizard Boy’ Artfully Combines Indie Rock with Comic Book Sensibility

Chelsie Nectow, Keiji Ishiguri, and Peter DiMaggio in ‘Lizard Boy’ at SpeakEasy Stage.
Photos by Benjamin Rose Photography.

‘Lizard Boy’Book, music, and lyrics by Justin Huertas. Directed by Lyndsay Allyn Cox; Music Direction by Violet Wang; Scenic Design by Qingan Zhang; Sound Design by Sean Doyle; Costume Design by Zoë Sundra, Lighting Design by Deb Sullivan. Presented by SpeakEasy Stage at the Calderwood Pavilion. Through Nov. 22.

By Mike Hoban

There are any number of musicals that examine the hardships of not fitting in − from the 1960s Rankin-Bass television special Rudolph the Red-Nosed Nose Reindeer to Wicked to Bat Boy: The Musical. The challenges of “being different” and the struggle to be accepted can be compelling fodder for any storytelling vehicle, and SpeakEasy’s delightfully silly but poignant Lizard Boy is no exception.

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The Hive Theatre Company Takes Chances with Early-Career Artists: “Young People Are Worth It”

Margaret McFadden, Founder and Producing Artistic Director of The Hive

By Julie-Anne Whitney

Theater Mirror reviewer Julie-Anne Whitney sat down with Margaret McFadden, Founder and Producing Artistic Director of Boston’s newest theater company, The Hive, to discuss their inaugural season, the importance of creating opportunities for early-career artists, and the value of theatrical experiences for young people.

Celebrating its inaugural season with Sarah Delappe’s The Wolves (Oct 2025) and William Finn’s The 25th Annual Putnam County Spelling Bee (Jan 2026), The Hive produces contemporary theater that engages teen and young adult audiences with the intention of showing young people “how theater can relate to their lives and help them make sense of their place in the world.”

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“Tick, Tick…Boom”  Delivers a Dynamic Exploration of Love, Loss and Adulthood

Anthony Pires Jr, Vanessa Calantropo, Johnny Shea in Umbrella Stage Company’s ‘Tick, Tick… Boom!’ 

“Tick, Tick…Boom”. Book, Music, and Lyrics by Jonathan Larson. Directed and Choreographed by Ilyse Robbins. Lighting Design by Ben Rush; Sound Design by Alex Berg
Scenic Designer by Erik D. Diaz. Music Direction by Jordan Oczkowski. Presented by The Umbrella Stage Company, 40 Stow Street, Concord, through November 23.

By Michele Markarian

The world of childhood promises an open road, where any and all dreams are possible, ignoring any pesky variables, like personality, talent, looks, connections, socioeconomics, and, well, fate.  Which, as Carl Jung said, “Until you make the unconscious conscious, it will direct your life and you will call it fate”.  At some point in our twenties, we decide what kind of people we want to be and the kind of life we would like to live, as it dawns on us that we really can’t have it all.  We are forced to choose, and the choosing isn’t always easy, especially for those of us who have our hearts set on a career in the performing arts.

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NSMT’s ‘The Cher Show’ Showcases Bob Mackie’s Costumes and the Woman Who Made Them Famous

The cast of THE CHER SHOW at North Shore Music Theatre. Photo©Paul Lyden.

‘The Cher Show’ — Book by Rick Elice. Original Broadway Production by Flody Suarez, Jeffrey Seller and Cher. Original Cher Costumes by Bob Mackie. Directed by Kevin P. Hill. Presented by North Shore Music Theatre, 54 Dunham Road, Beverly, through Nov. 2.

By Shelley A. Sackett

The Cher Show has a lot to offer those who love razzle-dazzle, energetic performances, vibrant costumes, and Cher, an Oscar, Emmy, and Grammy-winning New York Times best-selling author who has sold over a hundred million records. A portrayal of Cher’s life and career through three different actresses representing different stages of her life, the show spans seven decades of the resilient star’s career and features 35 of her biggest hits, including “Believe,” “Turn Back Time,” and “Strong Enough.”

For those who like dramatic depth, more than arms’-length emotion, and productions that run fewer than 3 hours, this might not be quite your cup of tea.

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ASP’s ‘Macbeth’ Is a Muddled Mashup of Time, Place and Tone

Omar Robinson, Brooke Hardman in Actors’ Shakespeare Project’s ‘Macbeth’
Photos by Benjamin Rose Photography.

‘Macbeth’ — Written by William Shakespeare. Directed by Christopher V. Edwards. Presented by Actors’ Shakespeare Project at Mosesian Center for the Arts, Watertown through October 26.

By Shelley A. Sackett

Ten minutes into ASP’s production of Macbeth, my friend leaned over and whispered, “I thought we were seeing Macbeth.”

He wasn’t being a smart aleck; he was astutely stating the obvious. While it seems au courant (at least in Boston) to catapult timeless Shakespeare into other eras with disco, hip hop, and gratuitous references to current headlines, Actors Shakespeare Project, under the direction of Christopher V. Edwards, proves definitively that it is possible to overreach and completely miss your mark.

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‘Mother Mary’ Drives Radical Kindness into Hearts and Minds

Tara Forseth, Adriana Alvarez in BPT’s ‘Mother Mary’. Photos by Benjamin Rose Photography

‘Mother Mary’ – KJ Moran Velz. Directed by Elaine Vaan Hogue. Stage Managed by Jess Brennan. Scenic Design by Cristina Todesco. Lighting Design by Darius Knight Evans. Costume Design by Nora Kempner. Sound Design by Mackenzie Adamick. Prop Design by Courtney Licata. Dramaturgy and Cultural Consulting by Carla Mirabel Rodríguez. Intimacy Direction by Jessica Scout Malone. ‘Mother Mary’ runs from October 9th – 26th at Boston Playwrights’ Theatre, 949 Commonwealth Ave, Boston, MA 02215. 

By Charlotte Snow 

“Birthing a play in collaboration with a playwright is a journey into the unknown,” director Elaine Vaan Hogue begins her director’s note. Every playwright hopes that when their baby (the play) has its world premiere, that audiences will love the play as much as they do. That’s the hope; the reality is they are usually bombarded with “I think that could be changed,” “I didn’t like the ending,” or “what you should really be writing about is…” It’s rare that an audience can so clearly see the playwright’s dreams and intentions. Speaking for my audience (my partner and I), we belong to the former category and fell in love with KJ Moran Velz’s Mother Mary

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Whoa! Wow! The Big Apple Circus Returns to Boston

The Bingo Troupe in ‘The All-New Big Apple Circus: The World’s Best Under Our Big Top’.

‘The All-New Big Apple Circus: The World’s Best Under Our Big Top’. Director & Choreographer: Renaud Doucet; Scenic & Costume Design: Andre Barbe; Technical Director: Guy Simard; Sound Design: JP Perreaux; Music Director: Rob Slowik. Presented by The Gold Group, EMC presents BAC, and Circus Vazquez at Suffolk Downs, 525 McLellan Highway, East Boston, through November 2, 2025

By Mike Hoban

From the very opening sequence, with a thundering pop-rock score playing behind an array of jugglers, hula hoopers, flying acrobats, and dancers, the Big Apple Circus grabs your attention and doesn’t let go, generating a chorus of “Whoas!” and  “Wows!” throughout the performance. The latest show, returning to Boston after a six-year hiatus, blends circus arts (trapeze, aerial ropes, various forms of juggling, acrobatics, and a tightrope act), clowning, and dog acts with a light show and an eight-piece orchestra to deliver a “one-ring” circus that brings out the kid in all of us.

The Flying Caceres
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Huntington’s ‘Sardines’ A Work of Amazing Grace

Chris Grace in ‘Sardines’ at The Huntington. Photos by Eric Michaud

‘Sardines (a comedy about death)’. Written and performed by Chris Grace. Directed by Eric Michaud. Kevin Becerra, Associate Director of Artistic Programming and Activation. Kendyl Trott, Production Coordinator. At The Maso Studio at The Huntington Theatre, 264 Huntington Ave, Boston, through November 16.

By Linda Chin

At The Huntington Theatre, attendees of Sardines (a comedy about death) will be treated to sixty minutes of the sweet sounds of Amazing Grace. Not the comforting hymn that’s popular at funerals, but the words and voice of playwright-actor Chris Grace (NBC-TV’s Superstore) in a solo stage show about family, grief, and loss that he’s written and performs.

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