Review: Lyric Stage Company's TROUBLE IN MIND Proves Playwright Stood Her Ground for Good Reason
What did our critic think of TROUBLE IN MIND at The Lyric Stage Company of Boston?
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What did our critic think of TROUBLE IN MIND at The Lyric Stage Company of Boston?
What did our critic think of REAL WOMEN HAVE CURVES: THE MUSICAL at Loeb Drama Center? The American Repertory Theater’s world-premiere production of “Real Women Have Curves: The Musical” – at Cambridge’s Loeb Drama Center through January 21 – proves that a serious story about the very re
It would take more than the fingers on two hands to count all of the holiday entertainment offerings in the Greater Boston area.
What did our critic think of A VERY DARREN CRISSMAS! at Emerson Colonial Theatre? Making his way to the stage of the Emerson Colonial Theatre on the recent Boston stop on his “A Very Darren Crissmas!” tour – by going up, down, and around the sold-out venue – Darren Criss transported his eage
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What did our critic think of ASSASSINS at The Lyric Stage Company Of Boston?
Michael Fray’s script is brilliant.
It’s well known that running this country as the President of the United States isn’t a one-man job.
What did our critic think of POTUS: OR, BEHIND EVERY GREAT DUMBASS ARE SEVEN WOMEN TRYING TO KEEP HIM ALIVE at Roberts Theatre, Calderwood Pavilion At Boston Center For The Arts?
What did our critic think of PRAYER FOR THE FRENCH REPUBLIC at The Huntington Theatre? The Joshua Harmon play “Prayer for the French Republic” – now being given a superbly rendered production by the Huntington – raises questions that have faced the Jewish people for generations, chief among
What did our critic think of THE HALF-GOD OF RAINFALL at The Loeb Drama Center?
Berkshire Audiences are fortunate that we often have opportunities to experience world premiere presentations like ON CEDAR STREET.
Despite its somewhat whimsical title, playwright Brenda Withers has crafted a taut story that is more dramatic cat-and-mouse game than comedic Guess Who’s Coming to Dinner? Director Rebecca Bradshaw’s previous experience mounting the play at the Kitchen Theatre Company with this same trio of act
Annette Miller is outstanding.
Friel harnesses the power of story telling common to both that culture and contemporary theater to weave a tightly woven tapestry with such depth, richness, and color it could easily be compared to the work of the great impressionist painters.
Audience members quickly engage with the characters before them virtually free of any doubt or distraction.
While I won’t go so far as to say this is a must-see, it is most certainly one that should be seen.
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