CREATION
Monday, October 15th, 2012
Ian and Sarah have had what would seem to be the perfect marriage, not only of hearts but of minds, his work as an evolutionary biologist complimenting hers as a pathologist with none of that religious mumbo-jumbo attached. Then one night Ian gets struck by lightning and all that changes in an instant.
Thus begins Kathryn Walat’s intriguing, thought-provoking new drama Creation, now getting its World Premiere in a production that makes it abundantly clear why The Theatre @ Boston Court is as top-tier as 99-Seat-Plan theater gets.
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UNDER MY SKIN
Thursday, September 20th, 2012
I’ll admit it. I’m a sucker for body-swapping flicks. Name a title and I’ve probably seen it. All Of Me. 13 Going On 30. 17 Again. 18 Again! Like Father, Like Son. Big. Chances Are. Vice Versa. Heaven Can Wait. Freaky Friday. Switch. Prelude To A Kiss. Have a character suddenly find him or herself inhabiting someone else’s body or an older or younger version of the one he or she already has—and I am in for the duration, knowing that there’ll be laughter, romance, and maybe even a tear or two as life lessons are learned all the way up to the moment when—inevitably—the switch back is made.
That’s probably why I proved such a sucker for the Pasadena Playhouse’s season opener Under My Skin, a body-swapping comedy by Robert Sternin and Prudence Fraser that takes the genre from screen to stage to hilarious effect, even as it updates it to our 2012 world and gives it a particularly inspired twist that only one of the above movies has even vaguely attempted.
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AUGUST WILSON’S JITNEY
Tuesday, June 26th, 2012
Back in 1979 when it was first written, August Wilson’s Jitney was a contemporary slice of African-American life as lived in Pittsburg, PA, and the first of a projected series of ten plays, each set in a different 20th Century decade. By the time Wilson completed his ambitious labor in 2005 with Radio Golf (set in the ‘90s), Jitney had morphed into a period piece, perhaps even more noteworthy for the look back in time it now offered.
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THE CHILDREN
Wednesday, May 16th, 2012
When Susan Smith confessed to having drowned her two small children back in 1994, it was hard not to draw parallels between this murderous mom of today and that lethal lady of mythology known as Medea. Though their motives were different (Susan wanted to get rid of her kids, the better to fool around with a man who didn’t want a “ready-made” family; Medea killed hers to punish her husband for an adulterous affair), the results were tragically the same.
Perhaps inspired by this tale as old as Greek tragedy and as recent as today’s headlines, playwright Michael Elyanow has written an extraordinary (if a tad too intricate) new play, The Children, which Theatre @ Boston Court is now World Premiering under the inspired direction of Jessica Kubzanky.
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THE HEIRESS
Monday, April 30th, 2012
The Heiress may have reached the ripe old age of sixty-five, but you’d hardly know it from the latest revival of Ruth and Augustus Goetz’s 1947 Broadway hit, adapted from Henry James’ classic novel Washington Square and currently engrossing and delighting audiences in equal measure at the Pasadena Playhouse.
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THE BUNGLER
Monday, April 9th, 2012
When you hear the name Moliere, it’s likely that The Bungler, one of the 17th Century playwright’s earliest comedies, will not make the list of titles coming to mind. Still, if A Noise Within’s production of this little-known gem is any indication, The Bungler (aka L’Etourdi) is one of the French master’s funniest confections—or so it would seem as conceived by director Julia Rodriguez-Elliott.anselm
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ANTONY AND CLEOPATRA
Monday, March 5th, 2012NOT RECOMMENDED
Antony and Cleopatra. For anyone around in the 1960s, those two names can’t help but conjure up memories of Richard Burton and Elizabeth Taylor, whose scandalous real-life love story mirrored that of the legendary historical couple they were playing on screen.
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ART
Thursday, February 2nd, 2012
There’s nothing like star quality to turn yet another revival of an oft-produced play into an event—not celebrity stunt casting, but rather that combination of talent, individuality, and charisma that true stars bring to whatever project they undertake.
Such is the case with the Pasadena Playhouse’s fabulous all-star revival of Yasmina Reza’s Art, the French playwright’s Tony-winning Best Play of 1998.
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