In 2006, a delusional gunman entered a one-room schoolhouse in Lancaster County, Pennsylvania, home of an Old Order Amish community, with the intention of acting out his obsessive fantasy of molesting Amish girls. Although thwarted by the unexpected arrival of police, he shot 10 girls, ages 6 to 13, execution-style before killing himself. Five of the girls died.
Former artistic director Bill Theisen is back at the Skylight, and boy, does he have a story to tell.
A performance of Beethoven’s “Kreutzer” Sonata requires two artists: one on violin, one on piano. A performance of Nancy Harris’ Kreutzer Sonata, adapted from Leo Tolstoy’s novella of the same name, requires a third: a gifted actor who can stand within the gaps of that sonata and tell a tale of a man driven to obsession by the passions such a work of art can evoke in its performers and listeners.
Anything Goes is an emblematic musical, a chunky yarn in the fabric of American culture that has warmed audiences for 80 years. Nearly every song in the first act is a cherished part of the Great American Songbook. Whether you’re 30 or 70, you’ll find yourself singing along (in your head at least) and tapping your toes to Cole Porter’s clever lyrics and familiar tunes — including “I Get a Kick out of You,” “You’re the Top,” “Easy to Love,” “Friendship,” “It’s De-lovely,” “Blow, Gabriel, Blow,” and of course, “Anything Goes.”
There’s a funny contrast at the heart of Good People. Its heroine is Margie, a South Boston mother working paycheck to paycheck who runs out of paychecks. She earns our sympathy almost immediately, with a can-do spirit and relentless drive. But most of us in the audience aren’t Margies.
When Steve Gonsalves first saw Ghostbusters, the 1984 Bill Murray comedy about four hapless souls who chase paranormal specters and save New York City from the powers of darkness and a giant Stay Puft Marshmallow Man, his life’s course became clear.
With a nod to New York theater critic Charles Isherwood, the older you get, the sooner it seems you are faced with the prospect of listing the best productions of the year.
When Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street opened on Broadway in 1979, its murderous themes caught the attention of audiences and critics alike and helped them sharpen their appreciation for less cheery musicals.
Jon Mueller and William Ryan Fritch used to be complete strangers.
Of all Shakespeare’s plays, Macbeth is among the most gendered, its characters struggling with the ways their society expects them to act like men or women.
This year’s best-in-theater list includes a musical with multiple murders, another with a cross-dressing German, one that’s set in a decadent Berlin nightclub, the revival of an America masterpiece and we celebrate someone who broke an important barrier. Our Top 10 list of the best in theater in 2014:
1. “Hedwig and the Angry Inch”: The cult story about a transgender East German rock star seemed just to be waiting for its time to shine on Broadway and Neil Patrick Harris turned out to be a perfect fit for her high heels.