Saul Rubinek Recasts Shakespeare in the Provocative ‘Playing Shylock’

Saul Rubinek in “Playing Shylock at the Polonsky Shakespeare Center.” Photo by Dahlia Katz

By Shelley A. Sackett

Ask a Jewish audience what their first reaction is when they think about Shakespeare’s “The Merchant of Venice,” and chances are they will mention the negative portrayal of Jews by the Venetian moneylender and play’s principal villain, Shylock. Long considered a slur against Jews, the very term was condemned by the Anti-Defamation League as antisemitic as recently as last July, when Trump described bankers as “shylocks and bad people” during a rally in Iowa.

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Theater Mirror’s Kilian Melloy Interviews ‘SpaceBridge’ Creator Irina Kruzhilina

Irina Kruzhilina. Photo by Olga Scorobogach

“I was born in Russia,” New York-based theater maker Irina Kruzhilina explains as our interview commences. “My mom was born in Ukraine. My father’s a Georgian Jew, which makes the situation right now, as you can imagine, very difficult. But I think that most people who are in Russia, or those who escape, do have this background, whether it’s Russian-Ukrainian or Russian-something else.”

Raised in Moscow during the days of the Soviet Union, Kruzhilina witnessed the transformation of Russia first-hand… and then witnessed its reversion. “I moved here the year Putin became the president,” she recalls. “I immediately moved to the States, where I got my second master’s in theater and started working. I have training in theater design, and I got additional training in directing.” That training stood Kruzhilina in good stead last year when she did the scenic design for Arlekin Players’ The Gaaga — work that earned her an Elliot Norton Award.

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Theater Mirror’s Kilian Melloy Interviews “Fun Home” Director Logan Ellis

Logan Ellis. Director of Fun Home. Photo by Annabel Clark

Rising theater director Logan Ellis has become a director who bridges worlds — between classical music and theater, between scrappy DIY companies and regional powerhouses, and between personal vulnerability and political urgency. Fresh out of school, he and some friends founded Theatre Battery in Kent, Washington, turning vacant mall storefronts into free community art spaces in one of the state’s most culturally diverse areas. Fifteen years later, Ellis has earned his MFA from Yale School of Drama, become Associate Producer at Skylight Theatre Company in Los Feliz (a neighborhood in Los Angeles), continued as Producing Artistic Director and Co-Founder at Theatre Battery, and pivoted into film.

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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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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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Kilian Melloy Interviews Playwright KJ Moran Velz, whose new play, ‘Mother Mary’ is premiering at BPT

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

by Kilian Melloy

Boston Playwrights’ Theatre’s season continues with KJ Moran Velz’s new play Mother Mary, a story set in 1968 that finds two women — cab driver Jo Cruz and Catholic schoolteacher Mary O’Sullivan — navigating not just the streets of Southie, but also the perils of the time and the eternal mysteries of love. What starts as a ride home turns into a shared daily ritual of commuting and discussing books like The Price of Salt. Jo’s uncertainties and Mary’s innocence are roadblocks on the road to romance, but so too are the insults hurled by community members who can see plainly that Jo likes women… something that Mary, catching onto, finds herself intrigued by. There’s a complication in that Mary is pregnant thanks to her boyfriend (also Catholic, but deployed to Vietnam), but that might just be something Jo happens to be able to help with…

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Kilian Melloy Interviews Tom Coiner, Star of Merrimack Rep’s “Misery”

by Kilian Melloy

It’s hellishly hard to get Stephen King’s work to translate well from page to screen; you’d better be a Stanley Kubrick, a Bran DePalma, or a Mike Flanagan if you hope to create the same sense of dread and terror King imbues his novels and short stories, or a Frank Darabont or a Rob Reiner to capture some of the same emotional charge and general atmospherics.

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Kilian Melloy Talks with Liz Callaway About Her Career and SpeakEasy’s Upcoming New Musical Showcase, “Boston Bound”

Boston theaters have long served as a testing ground for new musicals headed to Broadway. Recent major works like Natasha, Pierre & The Great Comet of 1812 (2015), The Gershwins’ Porgy and Bess (2011), and Waitress (2015)all premiered at the American Repertory Theater in Harvard Square in recent years before becoming sensations on the Great White Way. It’s a tradition that reaches as far back as 1943 (Oklahoma!) if not even earlier, and endures as recently as 2018 (Moulin Rouge! The Musical! and Jagged Little Pill both lit up Boston area stages that year).

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Kilian Melloy Talks with Chris Grace About His Upcoming Solo Show, “Sardines” at the Huntington

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

You might know comedian Chris Grace from his role on Superstore or his appearances on Broad City, Pen15, and other TV shows. But beyond the screen, he’s a busy standup comedian with such a packed itinerary that, he tells Theater Mirror, he hasn’t been home since July… and he won’t be back until just before Thanksgiving.

One of Grace’s most recent stops was the Edinburgh Fringe Festival, where he created new material nonstop — a show every day, he says, for each day he was there. Now he’s getting ready to come to Boston, bringing his solo show Sardines (a comedy about death) to the Huntington Theatre for a six-week run, Sept. 30 – Nov. 16. (Find out more at https://www.huntingtontheatre.org/whats-on/sardines/ .)

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