The Boston Lyric Opera opens the season with its take on an “immersive” ‘Pagliacci’, a play-within-a-play centered on a love triangle between members of a commedia dell’arte troupe. The result: a bite-size opera with a festive preamble that makes up in spirit what it lacks in substance.
"The Crucible" is a poignant reminder that the villains are not only those who yell the loudest, but those who bestow their sanction on the accusers. Bedlam makes this play shine through its thoughtful, textured realization of the characters, its sustained suspense, and its intimate engagement with the audience.
There is much that entrances the viewer in Boston Lyric Opera’s production of 'The Rape of Lucretia,' despite its heavy thematic content. The BLO presents high-caliber singing, aesthetic costume design, and an orchestra that breathes life into Britten’s score, all at unprecedentedly close quarters.
If you’re looking for a sincere adaptation of Alexander Pushkin’s novel-in-verse, then this is not the production for you. However, if you are looking for humorous, light-hearted musical parody of a classic Russian story, then hitch up your troika, grab your palliative bottle of vodka, and direct your driver to the faraway land of Stoneham.
Professor of phonetics, Henry Higgins (Eric Tucker), and his friend, Colonel Pickering (James Patrick Nelson), take up the challenge of teaching a flower girl, Eliza Doolittle (Vaishnavi Sharma), to speak like a duchess. This production of Pygmalion will make you laugh and will make you think — I recommend it wholeheartedly.
This production of Measure for Measure, put on by Cheek by Jowl in collaboration with Moscow’s Pushkin Theater, has a hypnotic grace that will keep you transfixed throughout, whether you speak Russian or not (don’t worry, there are English surtitles).
Before you get the wrong idea, this is not a Spark Notes rendition of the Scottish play, nor is it a hip, new adaptation set in the Bronx or L.A. This modern verse translation is the result of a concerted effort to make Shakespeare more accessible by to translating his plays into contemporary English.
For time periods from which extant written records are few, drinking and serving vessels can serve in an illuminatory capacity. Assembling an exhibition dedicated to such artifacts, as Susanne Ebbinghaus has done at the Harvard Art Museums, provides an unparalleled opportunity for cross-cultural and cross-temporal analysis of the tradition of animal-shaped vessels that persisted over three millennia, from Greece to China.
'Hamnet' is a raw, intimate portrait of William Shakespeare’s only son who died at the age of 11 and has ever since been shrouded in mist. It paints in broad, metaphysical strokes the relationship between father and son, while skirting around explicit literary analysis.
Soon, the empty stage, with a beautiful, defunct organ for backdrop, would be graced by the presence of the most well-known and widely praised period-instrument quartet of the day. Quatuor Mosaïques, an Austrian ensemble that came together 30 years ago, distinguishes itself with its singular use of gut-stringed instruments, specializing in the music of the 18th century.
The myth of the “tiger mom” took flight in the American imagination with the publication of Amy Chua’s Battle Hymn of the Tiger Mother, which sparked a nationwide controversy about the merits of Asian vs. Western parenting styles. Playwright Mike Lew “felt that it wasn’t being represented [fairly] in the media,” so he decided to write a play about it. He explores not only the myth of tiger parents and the question of what happens after the alleged Carnegie Hall recitals and Ivy League college graduations, but also the identity conundrum that faces Asian-Americans in the 21st century.
The restaurant will capture a wide variety of experiences: it will have a coffee bar with a delectable selection of pastries throughout the day; it will offer lunch; and in the evening, Tracy’s experience in fine-dining will provide the ultimate experience, whether you’re ordering drinks, pinchos, or dinner.
A Sunday Afternoon on the Island of La Grande Jatte, displayed at the Art Institute of Chicago, served as a theatrical and musical inspiration for Stephen Sondheim, who has been described as “the greatest and perhaps best-known artist in the American musical theater.” For actor Chanler-Berat (Broadway's Peter and the Starcatcher and Next to Normal) and director Peter DuBois (A Little Night Music), who hopped on a plane to view the original painting, it was a source of creative energy.
Taking a theatrical journey to Messina, the traditional setting of Shakespeare’s Much Ado About Nothing, was exactly what I needed by the end of this past week. It turned out to be a rather unexpected kind of Messina — a gaming lounge rather than a small Italian town. But hey, “all the world’s a stage,” and the Shakespeare Ensemble does a fantastic job of adapting one of the Bard’s most beloved comedies to ours.
Deep in the Amazonian rainforest, we embark on a journey with Karamakate (Nilbio Torres), a shaman who is one of the only survivors of his tribe. Colombia is being torn apart and pillaged by the rubber plantation barons who control the country during the colonial era. Director Ciro Guerra’s The Embrace of the Serpent is an intricate and mournful examination of the ravages that this period in history wrought upon the indigenous peoples of Colombia. It is based on the travelogues of two explorers, German ethnologist Theodor Koch-Grünberg (Jan Bijvoet) and American biologist Richard Evans Schultes (Brionne Davis), who wrote some of the only existing accounts of many of these indigenous tribes.