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Peter Brook has decided to be more than a little stubbornly anti-theatrical in The Prisoner.
The moral of Jen Silverman's yarn is straightforward enough: we are in a country where self-transformation has become an end in itself, re-invention a default response to omnipresent banalit…
Yes, The New Yorker cover pillories the superrich as they ignore the pixie proletariat at their feet. But so what?
The Peculiar Patriot may say it is about making us feel the human price of mass incarceration in America, but there is more than a little True Romance in the mix.
Taylor Mac and Pirandello share the same goal: reveal the deadening vacuity at the heart of bourgeois society and the male ego.
The old questions, good as they are, are going to be augmented with new ones: Are we creating a world worth living in? Are we creating a world we can continue to live in?
Eleanor Burgess' The Niceties is an articulate, if structurally crabbed, expression of #blacklivesmatter anger as well as a millennial rebel yell.
The Beau Jest Moving Theater staging succeeds at conjuring up the genially comic spirit of the late Larry Coen, a bounteously talented actor and director.
"If solutions are hard to come by -- both in terms of the socioeconomic predicament of contemporary jazz, and for American culture more generally -- this is because they derive from such fun…
Three theaters in the Berkshires offer differing views of the past.
Will working with audiences encourage stage companies and theater artists to go beyond the status quo? Or just cement them into the sweet spot?
Diverting the resources of Boston's regional theaters into the casino of Broadway undercuts the ideals that launched the regional theater movement.
This Midsummer Night's Dream is a pleasant enough entertainment that is helped mightily by the bucolic waterfront setting.
“Our film has community and spirituality,” says Amy Geller. “It also has conflict.”
We will not get another Angels in America unless we demand it -- and stop accepting bogus substitutes.
Recommended hashtags for the Boston Theatre Critics Association: #MeTooGiveMeTime, #MeTooNotYet
Joshua Sobol isn't interested in exploring dramatic possibilities but making sure his equation about the inevitable mechanics of violence work out.
Albert Camus brings a bracing response to thinking about the worse that is missing in so many of our current dystopias.
The script is symptomatic of the Trump era: a passionate rejection of the "politically correct” pushes warriors for "freedom,” as well as voices of radicalism, into morally despicable po…
The strategic silences in the Boston Globe's piece on the legacy of Israel Horovitz are disturbing.
We need more serious, informed, and diverse voices evaluating and reporting on the arts at a time newspapers and magazines are cutting back and/or dumbing down their arts sections.
To my surprise, the auto union was written out of the picture from the start, as if dramatist Dominique Morisseau saw it as an embarrassment.
Steve is a satisfyingly genial comedy that brings up, but then darts quickly away from, serious issues.
The White Card's examination of white philanthropy and racism stays well within the comfort zone.
Shange's nervy mix of wordplay and in-your-face didacticism -- of resilience in the face of hardship -- is very much the empowering thing.
It was time for a bit of a face-lift.
The publication, its editor, and its over 60 writers believe that the health of arts criticism and the arts community are inextricably intertwined.
Ada/Ava is an impressive theatrical feat that finds a new, and invigorating, way of telling a story on stage.
Some of our critics talk about the books that meant the most to them over the past year.
Does anyone really believe that there is no sexual harassment going on in Boston area theater companies today?
Hold These Truths is an invaluable reminder that alternative facts are not a new thing.