Imaginary Beasts Offers Fanciful Family Fun with Hansel & Gretel Panto

February 12, 2020 Theater MirrorLeave a comment

By Julie-Anne Whitney

Hansel & Gretel (Winter 2020 Panto) – Written and directed by Matthew Woods; costume design by Cotton Talbot-Minkin; set design by Lillian P.H. Kology; lighting design by Michaela Carmela Bocchino; puppet design by Elizabeth Owens and Jill Rogati; stage and production management by Sophia Giordano. Produced by Imaginary Beasts at the Charlestown Working Theater through March 1, 2020.

The British Panto has been a popular holiday tradition in the U.K. since the early 1700s. For those who don’t know, a panto is a rowdy, interactive Vaudevillian style of musical theater which starts with a simple children’s story (such as Cinderella, Snow White, or Jack and the Beanstalk, etc.) and is then transformed into an over-the-top slapstick comedy piece with contemporary references, a bit of improvisation, an educational element, and enough creative humor to please both the children and the grownups.

New Rep’s ‘Hair’ Takes Us on an Electric Musical Trip

February 11, 2020March 2, 2020 Theater MirrorLeave a comment

By Mike Hoban

Hair: The American Tribal Love-Rock Musical – Book & Lyrics by Gerome Ragni and James Rado; Music by Galt MacDermot. Rachel Bertone, Director/Choreographer; Dan Rodriguez, Music Director; Janie E. Howland, Scenic Designer; Marian Bertone Costume Designer; Franklin Meissner, Jr., Lighting Designer; Kevin Alexander, Sound Designer. Presented by New Repertory Theatre, Mosesian Center for the Arts, 321 Arsenal Street, Watertown through February 23

When the original production of Hair first hit the Broadway stage in April of 1968, it was a mind-blowing experience in every sense of the phrase. The profanity, overtly political anti-war stance, perceived lack of respect for the flag, interracial coupling (yes kids, that was actually controversial in 1968), and shattering of sexual boundaries – including a cross-dressing Margaret Mead, polyamorous characters and (gasp) full frontal nudity – shocked the establishment. And while none of those things would likely to raise an eyebrow for most theatergoers today, the production was truly groundbreaking in its time. It ran for four years and 1,750 performances and made the leap from theater to popular culture, with cover versions from its rock score producing multiple top 40 hits, including four Top 5 songs – the Cowsills’ version of “Hair”, Oliver’s “Good Morning Starshine,” Three Dog Night’s “Easy to Be Hard” and the 5th Dimension’s medley of “Aquarius” and “Let the Sunshine In” – which hit #1 for five weeks.

Epic Theatre’s ‘Agnes of God’

February 10, 2020 Theater MirrorLeave a comment

Reviewed by Tony Annicone

Epic Theatre tackles the 1979 drama Agnes of God by John Pielmeier and comes up victorious. The title is a pun from the Latin word Agnes Dei which means Lamb of God. Pilmeier received the inspiration for writing this show after reading an article about a nun having a baby in a convent in Brighton, New York in 1977. A young novice nun is accused of murdering the infant she gave birth to in a cloistered convent in Canada. Agnes is suspected of the crime and claims not to remember anything about it. A psychiatrist is sent to evaluate her, only to face off with a steely and strict Mother Superior who is trying to protect the girl. During the course of this show secrets are exposed and faith is challenged, leaving you to question who you believe and why? It examines miracles, child abuse, sin and other topics, too. Director Lynne Collinson casts these roles perfectly and obtains strong and stunning performances from all of them.

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.

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.

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.