Overall, the presentation is synergistic as well as effective and we become absorbed in what starts out with an examination of the humorous side of reality and ends with the sense and sensibilities many face in this thing we call life.
The subject matter, like Rosalind, does not allow for jokes.
The season opening CABARET on the Boyd-Quinson Stage, should leave little doubt that Alan Paul doesn’t play around; intends to carry on in the style and tradition that Berkshire audiences have come to both anticipate, and appreciate; and Julie’s words were justified.
The company and seemingly all involved with BSC’s 10X10 NEW PLAY FESTIVAL have done an admirable job creating and presenting an event that is enjoyable, relatable, entertaining, and thought provoking.
After 28 Seasons Julianne Boyd, co-founder and Artistic Director at Barrington Stage Company, passed a brightly burning torch and retired at the end of the 2022 season.
Typically, I don’t care much for works that fall into the realm of existentialism, theatre of the absurd, and the like.
GOLDEN LEAF RAGTIME BLUES does provide a pleasant hour and 20 minutes of pleasant entertainment free of politics, angst and the chance to sit back and relax, and focus on something completely different for a bit which most of us can use and appreciate these days.
ALL OF ME is all kinds of good.
Where most productions paint the duo as downtrodden and rather depressed, here the two main characters are painted with s sense of comedic timing and light-heartedness that almost seems choregraphed.
Each player has moments of strength, weakness, anguish, despair, all presented well individually.
As is often the case the BTG production is a high-quality production where seemingly everyone involved has played their role and done their work well.
There are a few technical glitches that presented themselves to a keen eye, but virtually something for everyone to like.
In their promotional materials for NEXT TO NORMAL, Mac-Haydn, advised it would be “unlike anything you have seen on our stage.
Simon and his mother, Ora, have always been close.
There is not one single word of spoken dialogue.
ANNA IN THE TROPICS is something like a well curated and presented collection of themes that are both timeless and universal.
The relevancy to current issues such as Me Too, Feminism, Sexism, Abuse of Power, Patriarchal Systemic Inequality, Masculine Toxicity, My Body – My Rights, See Something – Say Something … abound.
At two very different public schools in the same city — an underserved school on the verge of shutdown, and an elite magnet program nearby — pressure to perform well on standardized tests drives students and teachers to compromise their integrity.
ONCE is one of those productions that comes along, once in a while, where audience members can truly sit back, relax, get comfortable, and enjoy as a delightful experience sweeps them up, carries them away, and lets them feel all the feels.
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