photo: Nile Hawver-Nile Scott Shots
The 2015 Tony Award winning The Curious Incident of the Dog in the Night-Time now playing at Boston’s SpeakEasy Company was adapted by Simon Stephens from Mark Haddon’s bestseller of the same name. It is a very imaginative theatrical play where what is seen is as important as the words heard.
It revolves around Christopher Boone, a high functioning mathematically gifted autistic fifteen year old boy who lives in Swindon, England. Although the word autism is never mentioned, his behavior and the production make his problems clear. Given that he prefers his own company he does not socialize with people. As a result, he is extremely naïve about the way the world functions. He cannot bear physical contact with people. Even his parents are allowed only to reach out a hand and touch Christopher’s hand while he stands at a distance. However he has a pet rat he cares for tenderly. He dreams of becoming an astronaut, a profession where he could be alone and fly towards the planets. (Continue reading » )
Souvenir. A Fantasia on the Life of Florence Foster Jenkins
Photo Mark S.Howard
Ten years after staging Stephen Temperley’s two-hander Souvenir, A Fantasia on the Life of Florence Foster Jenkins Spiro Veloudos, the artistic director of Boston’s Lyric Stage, has revived it with the same cast. Not having seen the earlier production, I am unable to compare the two. However, both talented performers Will McGarrahan and Leigh Barrett are comfortable and believable in their roles.
Since Souvenir’s Broadway début in 2005, Florence Foster Jenkins has become considerably better known. Coincidently, Peter Quilter’s British iteration with an even longer title: Glorious!: The True Story of Florence Foster the Worst Singer in the World opened the same year. (Continue reading » )
Photo Gretjen Helene
As its title seems to indicate,Warholcapote , a two character play revolves around a relationship so close that both characters are in some way indistinguishable. Both were honored as avant-garde artists of the mid-twentieth century and both were celebrity hounds. Much of Warhol’s art consists of paintings of beautiful and famous actresses, most notably Marilyn Monroe and Elizabeth Taylor, the most prominent movie stars of their time. Nonetheless, he is perhaps most renowned for his pop art paintings of Campbell soup cans and other consumer goods of the middle class of the period. (Continue reading » )
Yerma at the Young Vic
photo Johan Persson
Yerma in London, as the subtitle states, is a contemporary adaptation of Federico García Lorca’s Yerma, a work by one of the great 20th Century Spanish playwrights. It was written in 1934, two years before the tragic assassination of the writer by Franco’s forces. Director Simon Stone’s reworking of the play sets it in an Expressionist design environment where the young couple, (she and John as they are mentioned in the cast) are enclosed in a glass case that creates a mirror effect for the audience. (Continue reading » )
Cambridge’s Central Square Theatre is presently showing Nick Payne’s imaginative Constellations under the auspices of the Underground Railway Theatre as a Catalyst Collaborative @ MIT. Every year a play whose source is scientific knowledge is offered at the Central Square Theatre and supported by MIT as a means of amalgamating art and science. (Continue reading » )
29 AOÛT 2017 /
Nous avons la tristesse de vous annoncer le décès d’Adel Hakim, survenu le mardi 29 août 2017 à Ivry.
Adel est décédé chez lui, entouré de ses proches. Il n’a pas pu, comme il le souhaitait, mourir à Zurich , auprès de l’association Dignitas.
Il a souhaité expliquer son choix et son engagement de mourir dans la dignité dans une lettre que nous nous vous communiquons. Nous vous remercions de prêter attention à cet adieu.
et le Théâtre des Quartiers d’Ivry – Centre Dramatique National du Val-de-Marne
_________ (Continue reading » )
Photo Mark Howard.
For its first show of the season Boston’s Lyric Stage, which often produces musical theatre pieces, chose Arthur Laurents’, Jule Styne’s, and Stephen Sondheim’s Gypsy. Gypsy is considered by many critics, scholars, and theatre artists as one of the greatest musicals of the mid-20th century when American musical comedy turned into musical theatre, a more well-rounded genre in which the narrative and characterization were on par with the songs, where comedy could remain an integral part of the show or be dropped.
In 1959, Ethel Merman created the leading role of Mama Rose, a woman dedicated to fulfilling her dream of seeing her two daughters become show business stars, who in Merman’s version was funny, cruel, selfish, powerful, and at times loving. Her loud (and for some abrasive) mezzo-soprano voice and her belting style were inimical.
Since the original closed in 1961, Gypsy has been revived four times on Broadway with Tyne Daly, Angela Lansbury, Bernadette Peters, and Patti Lupone as the lead. Tyne Daly, Angela Lansbury, and Patti Lupone won a Tony award, while Bernadette Peters was nominated. What their performances have in common is that their interpretations are less vulgar, tough, lower class, and over the top than Merman’s.
(Continue reading » )
Concept, dramaturgy, choreography Radhouane El Meddeb; Artistic collaboration Moustapha Ziane; Stage design Annie Tolleter; Music Jihed Khmiri, Production: La Compagnie de SOI; Tunis – Paris
A reflection on movement, music and chanting, this performance is about the pain of exile, the impossibility of return or of changing history. Radhouane El Meddeb, a Tunisian-French dancer and choreographer, dedicates his work to the people of Tunis, those who left and those who stayed behind. The central image is the sea towards which all the dancers’ gazes are directed. They come onstage, one by one, moving past each other, looking intensely at the audience, or rather at the sea.
In the first part of this one-hour show, there is not much action but rather tension and mistrust. The dancers move across the stage, stiffen their bodies, afraid to brush by each other, avoiding eye-contact. Their only point of connection is that sea, the gaze they cast towards the spectators. This sense of discomfort is transmitted to the audience as well: how do you react to action that is devoid of any internal movement?
(Continue reading » )