ExtraOrdinary, a collection of songs and talents from the 30-some musicals produced during Diane Paulus’ decade-long tenure, revels in a contagious self-satisfaction that’s hard to resist.
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Beautifully mounted by SpeakEasy Stage Company, this “Fun Home” takes its own crack at the Bechdel family doors.
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Both the theatrical farce and literature’s favorite detective are in peril in “Sherlock’s Last Case,” which opened at the Huntington Avenue Theatre Wednesday night.
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For the disconnected or uninitiated, the play will serve as a clean entryway into post-Ferguson meditations on America’s inability to properly confront its intolerance. For just about anyone else, it will prove a softened, if well-intentioned, depiction of a conversation best held outside of office hours.
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Bernard Weinraub’s new play, “Fall,” which had its world premiere in a Huntington Theatre Company production last night, would have made a great storybook. Approaching it from a journalistic standpoint, Weinraub presents it as a largely fictionalized but painfully literal dramatization of a man’s failure to act.
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Though bloodthirsty slashing might be what links together Mack the Knife and sharks, the same cannot be said for Boston Lyric Opera’s toothless production of “The Threepenny Opera,” which opened its limited engagement at the Huntington Theatre on March 16.
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As Haley, Haneefah Wood reminds us of the moments when we remember why we became friends with those closest to us.
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Directed by Colman Domingo, “A Guide for the Homesick” adds little potency or charm to a well-worn setup, resulting in a rather disjointed affair.
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Thematically, Ayad Akhtar’s “The Who & The What” is a timely and charged work, though, sadly, one that doesn’t make for very thrilling theatre.
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Our attention is drawn to the nature of artifice and performance in Suzan-Lori Park’s “Topdog/Underdog”, directed by Billy Porter.
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Without ever batting a glued-on eye, a demonic puppet forces everyone around him to confront their inner demons in this SpeakEasy Stage production that stars a recent Northeastern graduate and two former teachers.
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In Henrik Ibsen’s landmark play, “A Doll’s House,” mounted by the Huntington Theatre Company in a sensational production that opened Wednesday night, the tension and turmoil do not feel as if they originated in 1879 Norway.
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