Author: Jane Baldwin

Jane Baldwin, a longtime faculty member of the Boston Conservatory, taught Modern Drama, Acting, and Humanities. She is a recipient of the Canadian Heather McCallum Award for the best English essay and the French language Prix André G. Bourassa. Her books and articles include Michel Saint-Denis and the Shaping of the Modern Actor (Greenwood Press), Theatre: The Rediscovery of Style and Other Writings, which she edited (Routledge Press), and Vie et morts de la création collective/Lives and Deaths of Collective Creation, co-edited with Jean-Marc Larrue and Christiane Page (Vox Theatri). Her essay, “Michel Saint-Denis: Training the Complete Actor,” is published in Actor Training, ed., Alison Hodge (Routledge Press). Her latest work, “The Accidental Rebirth of Collective Creation: Jacques Copeau, Michel Saint-Denis, Léon Chancerel, and Improvised Theatre” appears in Toward a New History of Collective Creation, eds., Kathryn Mederos Syssoyeva and Scott Proudfit (Palgrave). Although most of her reviews are from the Boston area, she has followed the Stratford Festival in Canada for many years.”
The Central Square Theatre’s Production of “Cloud Nine”: a Treat

The Central Square Theatre’s Production of “Cloud Nine”: a Treat

 

 

Cloud Nine   Photo Nile Scott

Caryl Churchill’s brilliant two act play about sex “Cloud Nine” transpires in two eras and two places, the Victorian in British colonial Africa and the 1970s me decade in London. Various characters are played by actors whose genders and in some cases their ethnicity differ from the role they are playing.

For example, Joshua (Marge Dunn), an African servant in the household of a wealthy British family is portrayed in this production by a blond white woman dressed as a man while Betty (Joshua Wolf Coleman), Clive’s wife, played by a very tall black man wearing a blond wig, wants only to please her husband and is dependent upon him to make decisions.

Besides being the master of the family, Clive (Stephanie Clayman) is an administrative officer for the British government. The couple has two children, nine year old Edward (Sophorin Ngin) who is effeminate, and Victoria, who is a doll. Edward, performed by a woman, would like to please his unaware father by becoming masculine, but it is impossible for him. Clive’s mother-in-law Maud (Kody Grassett) also lives with them as does Edward’s governess Ellen (Aislinn Brophy) who is in love with Betty.

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Yerma: A Play About a Woman’s Desperate Need to Have a Baby

Yerma: A Play About a Woman’s Desperate Need to Have a Baby

 

YERMA   Photo  T.Charles Erickson

Lorca’s tragedy “Yerma” written in 1934 is rarely performed in the United States, although in Spain where Lorca is considered one of the country’s most important playwrights, his works are frequently played. However, in the last two years in the US there have been at least two important professional productions. The first was a rewritten, updated version developed in England and brought to New York in 2018 where it won over critics and audiences. The second, now playing at Calderwood Pavilion, was developed in Boston at the Huntington Theatre Company and adapted and translated by Melinda Lopez their playwright in residence. On press night Lopez played Dolores since Jacqui Parker the actress who had the role was injured.

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School Girls; or the African Mean Girls Play: A Show about Competition

School Girls; or the African Mean Girls Play: A Show about Competition

Maggy Hall Photography

Jocelyn Bioh’s School Girls; Or, the African Mean Girls Play now appearing at Boston’s SpeakEasy tells a tale of a group of six adolescent girls in their at the Aburi Girls Boarding School in Ghana in the 1980s. A comical show at times, it is also disturbing since it is deals with colorism which differs from racism in that lighter skin is considered more attractive than dark even amongst some black people. As the show begins, the clever, strong-willed, and pretty Paulina Sarpong (Ireon Roach) who is 18 has appointed herself the leader of the other four girls, thus becoming the most popular girl in school. Her popularity rubs off on her followers who enjoy their status.

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Indecent: A play that deals with love and hate in the past and in our time.

Indecent: A play that deals with love and hate in the past and in our time.

Indecent Photo Credit:  © T Photo: T.Charles Erickson.  Adina Verson and Elizabeth A.Da

Boston is privileged to welcome Indecent, Paula Vogel’s and Rebecca Taichman’s adaptation of Sholem Asch’s 1907 God of Vengeance (Got fun nekome) which became the first play to be banned on Broadway for sexual impropriety. Asch, a well-educated Polish Jew was interested in broadening Yiddish literature so that it dealt with the problems, developments, and realities of the period. His works became popular and were translated into numerous European languages. He was particularly proud when the esteemed German-Jewish director Max Reinhardt mounted the first production of God of Vengeance with the renowned actor Rudolph Schildkraut as the male lead, Yankel Chapchovich, known as the “Uncle” who earns his living running a brothel in the basement of his house.

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Cardboard Piano. A Play of Strong Emotions

Cardboard Piano. A Play of Strong Emotions

 

Photo Andrew Brilliant-Brilliant Pictures

Hansol Jung’s Cardboard Piano explores love, hate, war, sexuality and religion in Northern Uganda. Act one takes place on the eve of the millennium, a moment when despite the celebrations many people worldwide felt threatened.

Two sixteen year old girls Chris (Marge Dunn), the daughter of an American missionary and Adiel (Rachel Cognata), a Ugundan, are commemorating their love for each other by enacting their marriage in the shabby church where Chris and her parents also live. In order for the girls to keep their privacy, Chris gave her mother and father sleeping pills. Adiel, the more mature of the two, prepared for the ceremony by scattering flower petals on the floor, lighting a candle, and bringing a tape recorder to record their vows. Secrecy is vital as homosexual acts are strictly punished.

The ritual is disrupted by a wounded child soldier, thirteen year old Pika (Marc Pierre) who grabs Chris, covers her mouth, and points his gun at the girls. After he faints from weakness, they tie him up and discuss their futures which they view differently. The more generous Adiel feels obliged to help Pika. When he awakes he talks about his experience as a soldier and the guilt he feels for the “bad things” he has done. Guilt and fear had led him to try to run away: his punishment was having his ear cut off. He is troubled for his soul which he feels is shrinking and is terribly afraid of being caught again by the army.

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An Inspector Calls: A Study of Greed

An Inspector Calls: A Study of Greed

Liam Brennan, Jeff Harmer, Hamish Riddle, Andrew Macklin  Photo by Mark Douet

The National Theatre’s production of J.B. Priestley’s 1945 “An Inspector Calls” now playing at ArtsEmerson’s Cutler Majestic Theatre in Boston, MA remains a fascinating political theatre piece. When first completed, there was no theatre available in London so Priestly offered it to Russia where it played successfully in Saint Petersburg (then Leningrad) and Moscow. Its 1946 London début was at the Old Vic with Ralph Richardson – one of England’s greatest actors – as the inspector. The work remained popular for quite a few years and was translated into a number of languages, shown on television in 1948, again in 1961, and turned into a film that appeared in 1954.

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Birdy: A Test of Loyalty

Birdy: A Test of Loyalty

 

Photo Evgenia Eliseeva

“Birdy,” an adaptation by Naomi Wallace of William Wharton’s once renowned 1978 novel is now playing at Babson College in Wellesley, Massachusetts, the winter home of the Commonwealth Shakespeare Company. (In summer the company performs Shakespeare outdoors on the Boston Common.) Wharton’s best seller about a close, but unusual friendship between two boys, Birdy and Al,  who came from a poor neighborhood in the suburbs of Philadelphia won the US National Book Award and was translated into twenty languages. A 1984 film version set during the Vietnam War directed by Alan Parker and starring Nicholas Cage and Matthew Modine received the Grand Prix Spécial du Jury at Cannes. 

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SHAKESPEARE’S OTHELLO IN THE TRAPPINGS OF TWENTY-FIRST CENTURY AMERICA

SHAKESPEARE’S OTHELLO IN THE TRAPPINGS OF TWENTY-FIRST CENTURY AMERICA

Photo: Natasha Moustach

An updated version of Othello now playing at the American Repertory Theatre in Cambridge originated at the renowned Oregon Shakespeare Festival. Director Bill Rauch was interested in exploring the similarities that that he believes underlie the play with the problems and politics of today’s U.S. where prejudice against people of color, ethnic minorities, and immigrants looms large. The tragedy’s misogyny is still with us today although attempts are being made to eliminate it. Rauch’s cast was chosen in part to make the play match the U.S.’s society more closely. In a cast of twelve there are only four white actors. Half the actors play a second role.

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The End of TV: Manual Cinema Presents Another Unusual And Stunning Work

The End of TV: Manual Cinema Presents Another Unusual And Stunning Work

Photo Judy Sirota Rosenthal

Manual Cinema has returned to Boston’s ArtsEmerson with their latest work The End of TV just a year after their delightful showing of Ada/Ava. The company was set up in 2010 as a collaborative of three men and two women dedicated to modernizing shadow puppetry through combining theatre and film. Nonetheless, as with Ada/Ava, there are no words spoken by the characters. The only dialogue presented is taken from old television commercials that are dubbed by the puppeteers. Kyle Vegter and Ben Kauffman are responsible for the script.

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Small Mouth Sounds and Not Much Dialogue Either

Small Mouth Sounds and Not Much Dialogue Either

 

Photo Nile Scott Studios

Small Mouth Sounds now playing at Boston’s SpeakEasy is influenced by the personal experience of its playwright Bess Wohl who underwent the rigors of a silent retreat. The six characters that arrive at the retreat mostly alone seem to be there to change and better their lives during their five day stay. Since speech plays a relatively small role, the actors often use a form of mime to make themselves clear and the audience often needs to use guesswork to follow the action. Though the characters’ names appear in the program, they are not spoken.

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