I caught up with Ebersole in anticipation of her arrival in Boston for a conversation with Seth Rudetsky. Sadly, her sparkling personality and mischievous laugh do not translate as well onto the page.
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A multimedia theater piece filters shadow puppets, cardboard cutouts, and good old-fashioned pantomime through live cameras to depict the alienating effects of a consumer culture gone terribly wrong.
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The ways a group of teenage girls treat each other is often at the forefront of the Lyric Stage production of Sarah DeLappe’s one-act play about a girl’s indoor soccer team
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Othello has more connections to contemporary society than one might care to admit (or write down), as observed in the Oregon Shakespeare Festival’s production, now in performance at the American Repertory Theater.
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In a first-rate production directed by Michael Greif, the legendary prizefighter’s past, present, and future battle it out in an unforgiving tempest of celebrity, identity, and legacy.
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A new black-led Boston theater company prepares its inaugural season.
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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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Interview with director Michael Greif as he prepares Man in the Ring, the story of Emile Griffith, for the Huntington Theatre Company.
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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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