I’ve seen Evan Buliung a couple times during his eight years at the Stratford Festival. I’ve always liked him well enough but never really noticed him. I mean, I remember seeing and liking his Mercutio, but was so taken with Gareth Potter’s Romeo that I couldn’t tell you what I liked about the more challenging […]
On my latest adventure into the Boston fringe theatre scene, I discovered what may be the longest, most eccentric title yet; the production bursts with the same energy. 2010: Our Hideous Future: The Musical!, a Near-Futuristic Dystopian Cyperpunk Musical Comedy, flashes and pulses with a punk rock score and “hip” cyber jokes. I will admit […]
Vagabond Theatre Group was very ambitious in their staging of The Unfortunate Cutthroats, an original play written by Zach Winston and directed by James Peter Sotis. The Unfortunate Cutthroats portrays life at sea for what else but cutthroat pirates. The production bobs like a boat out at sea and staggers under the weight of an […]
The Boston theatre scene is small and, with each new production reviewed, I notice more and more overlap among companies; there are directors who perform as actors, costume designers dressing as patrons, and actors who mask as critics. Recently, I was delighted to be invited to a galas for the opening of a new company […]
Next to Normal is one of those pieces that, no matter what you do with it, ultimately comes down to the actors. You can place it on a cool, versatile and modern set, you can dress it up with colour-coded costumes and loud rock music, you can place it in the biggest venue available. Ultimately […]
Heart and Dagger Productions presents a challenge with verve; its newest production of MilkMilkLemonade is not for the faint-hearted. Set in a fictitious town, young Emory (played by “Bad Boy of Theatre” Joey C. Pelletier) dreams of a life outside his Nanna (played excellently in drag by Mikey DiLoreto)’s farm. He is just a regular […]
Soup Can Theatre’s production of Marat/Sade is packed full of great ideas, but they’re not always perfectly realized. Sarah Thorpe’s eloquent director’s note reveals the brilliant intellectual backbones of her interpretation- how she’s modernized the text to explore the themes in ways that are both nationally historic and hauntingly current. But her setting of 1957 […]
We were working hard this Toronto Fringe, taking in a total of 16 plays ranging from dance to drag to one-man displays or neurosis. There were companies of one, companies of ten, staged readings, fully-mounted musicals, lots of laughs, a couple of tears and grades ranging from A to D. Read on for the skinny […]