In a matter of three minutes on a New York City subway, Subway Crushmakes a statement about ideas of perception and interpretation that continually resonates in our digital culture. It is a slice of digital life that escalates quickly and stands as a peek into a bigger picture ominously, candidly, and realistically captured by more than one person behind a phone. What is the truth behind what you are seeing and explores one of many ways information can be dangerously misinterpreted.
Still from ‘Subway Crush’ with cast composed of Mehdi Hadim, Bella Kouds, Danny Salvato, Satya Crasneanscki, Natalia Yi
Both written and directed by Oriana NG, Subway Crush and French short film Waltz for Three are two profoundly different films. Crush exhibits escalation while a subtle revelation emerges in Waltz for Three. Increasingly feverish and frenetic Crush is candidly captured as it makes a significant statement about our contemporary culture while Waltz for Three is timeless and sophisticated with a stirring emotional core. Yet both films are built in misunderstandings that long to be resolved.
‘Still from Subway Crush’ with cast composed of Mehdi Hadim, Bella Kouds, Danny Salvato, Satya Crasneanscki, Natalia Yi
With impactful direction and written by Oriana NG, Subway Crush and Waltz for Three continue to make the film festival circuit and were recently screened at the 2026 Dances With Films New York Edition on January 15-18. Click here for more information on the writer and director as well as future screenings.
Part of the cast of ‘Waltz for Three’
A quiet encounter has a profound effect on two people.
Surrounded by distinctive finery in a gorgeous castle in France, Agnès feels isolated. Ophélie Lehmann portrays reserved, soft spoken and unassuming Agnès who is quite certain what she wants when she invites Mikaël Mittelstadt as handsome Jean home. However, it is not for the reasons one might expect.
Ophélie Lehmann in ‘Waltz for Three’
In many ways, French short film Les Trois Valseurs (Waltz for Three) explores two worlds. This multilayered and unpredictable tale has a meaty emotional core for two likable people who have experienced a great deal in very different ways. The film takes its time, but does not drag as these two make discoveries about each other. The costuming and props, includes a distinguished victrola, an ethereal clock and a golden lighter, are delicate, detailed and gleaming and the way the two carry themselves evokes almost a dreamlike ambiance. With hair swept up and adorned in an elegant dress, stately and enigmatic Agnès is mature beyond her years while Mikaël Mittelstadt’s Jean is charming and uncertain with his whole life ahead of him. They share compelling chemistry and perceive each other in a new light as the film unfolds.
Mikaël Mittelstadt in ‘Waltz for Three’
Not all the film’s questions are answered and in many ways, the answers aren’t necessary. The genuine moments that gently unfold are encapsulated in their gradual understanding of one another.
Mikaël Mittelstadt and Ophélie Lehmann in ‘Waltz for Three’
Subway Crush and Waltz for Three were recently screened at the 2026 Dances With Films New York Edition on January 15-18. Click here for more information on the writer and director as well as future screenings.
They were classmates with dreams beyond the classroom…and it all changed.
After a successful run in New York, Arlekin Players Theatre continued Tadeusz Slobodzianek’s historical drama, Our Class live and in person at Calderwood Pavilion in Boston, Massachusetts for a limited run through Sunday, June 22. Directly sharply by Igor Golyak and based around true events, this experimental and interactive work is approximately 2 hours and 45 minutes with one intermission and the action is not limited to the stage. While the production is not graphic and bloody, it depicts violence through a mix of narration and dramatization that is remains raw and heartbreaking. Click here for information.
Richard Topol and cast in ‘Our Class’ Photo by Olga Maturana
Spanning from 1926 to 2007, Our Class traces a tumultuous time in history as a group of Polish students, composed of five Jewish and five Catholic students, connect and grow up together through World War II and beyond. While some students end up together, others live to regret ever knowing each other. From the innocence and mischief of childhood including sing-along, playtime, and crushes to turmoil, prejudice and much worse, this group of students make discoveries about each other in collective joy as well as pain and torment in a raw, unflinching, and harrowing account which includes the horrific Jedwabne pogrom massacre in 1941.
Richard Topol and cast Photo by Irina Danilova
Presented in an experimental and documentary-style dramatization of historical events, Our Class delivers some beautiful moments through song, camaraderie and childlike wonder as well as how hate, fanaticism, hypocrisy and corruption set in and how those closest to you can turn on each other. Knowing it is true makes it all the more unsettling and difficult to watch as this account delivers a collection of significant lessons from an enormous and increasingly populated blackboard by chalk drawing designer Andreea Mincic and a steel ladder as part of Jan Pappelbaum’s innovative and unfolding scenic design.
Song of ‘Our Class’ Photo by Irina Dailova
The chalkboard serves multiple purposes as home video, illustration and various forms of cinematography by Projection and Video Designer Eric Dunlap and Igor Golyak who embellish the comic, tense, and heartrending portions of this production. The props and creations developed onstage by these characters veer from heartwarming to harrowing using balloons and various classroom objects to uniquely chronicle the events onstage.
From glaring brightness to starlight to lurking shadows, Jeff Adelberg’s evocative lighting varies from harsh to haunting and moody alongside Ben Williams’ striking sound design.
Kirill Rubtsov, Ryan Czerwonko, Jeremy Beazlie, Gigi Watson in ‘Our Class’ Photo by Pavel Antonov
Wearing numbered T-shirts for a classroom photo, this collaborative cast skillfully takes on dual roles and the same actors cleverly depict their characters growing up through improvisation and vocal dexterity as decades pass. In a particularly humorous ensemble moment which weaves in Or Schraiber’s dynamic choreography, the classmates contemplate whether or not to dance to a playful kazoo-infused medley. It is one of sparingly few pieces of lightheartedness amidst the turmoil.
Chulpan Khamatova Photo by Irina Danilova
It is difficult to single out standout performances when this production hinges so much on complex and seamless collaboration. However, it is amazing that Deb Martin as Zocha delivered a dedicated and stellar performance despite her recent real life injury improvising onstage using a wheelchair. Chulpan Khamatova as Rachelka and Kirill Rubtsov as Rysiek give multilayered performances while Richard Topol as charming and idealistic Abram, Zach Fike Hodges who is especially compelling in dual roles including Jakub, and Gigi Watson as Dora are all unforgettable.
Deborah Martin and Gigi Watson in ‘Our Class’ Photo by Olga Maturana
The production is lengthy and it feels like it at times, though that can also be expected covering over an 80 year time span. These creative and cautionary lessons are as poignant and significant as they are devastating as these characters face bullying, grief, death, impossible choices and shattered dreams in a world gone mad. It may be too chilling and tense for some, but powerful nonetheless.
Full cast of ‘Our Class’ Photo by Olga Maturana
Directly sharply by Igor Golyak and based around true events, Arlekin Players Theatre continued Tadeusz Slobodzianek’s historical drama Our Class live and in person at Calderwood Pavilion in Boston, Massachusetts through Sunday, June 22. Click here for more information.
It’s a shock that will take you out of your world.
Then reality sets in.
With stirring direction by Taibi Magar and musically directed by Alex Bechtel, American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8. Communal, meaningful and creative, this interactive theater in the round experience runs approximately one hour and 40 minutes with no intermission. It contains strong language and adult themes. Click here for more information and for tickets.
It explores the news everyone dreads. Finding out you are sick.
Witnessing its 41st performance, this intimate cast depicts a number of characters in different scenarios while occasionally engaging the audience in a casual atmosphere. It time jumps from the 12th century to the present day while addressing the calendar date the performance takes place and is dedicated to the sick, healthcare workers and caregivers by blending themes about relationships, sickness, mortality, and grief through acting, song and sing-along utilizing improvisation along the way.
Robi Hager in A.R.T.’s world-premiere production of Night Side Songs.
Credit: Nile Scott Studios.
Night Side Songs immerses itself into uncomfortable and harrowing territory with patches of hope and beauty that will either be fascinating and draw you in and never let go or hope it’s all over soon. It may not be for everyone, especially if you are squeamish about certain aspects of illness but have no choice but to get through it. Much like being sick can be.
Mary Testa in A.R.T.’s world-premiere production of Night Side Songs.
Produced in Credit: Nile Scott Studios
This warm and dedicated group showcases a number of scenarios, but the main storyline centers around Yasmine who discovers she has cancer at 41 years old in Worcester, Massachusetts. Brooke Ishibashi delivers a raw and heartrending performance as Yasmine who must navigate her life in an entirely different way in an attempt to get well while facing obstacles in her path. Mary Testa offers wit and self deprecating humor as Yasmine’s well meaning but overbearing and anxious mother Desiree who assures Yasmine that they come from a family of miracles. Isibashi shares some endearing moments with Jonathan Raviv as warm and nurturing Frank.
Brooke Ishibashi and Jonathan Raviv embrace in A.R.T.’s world-premiere
production of Night Side Songs. Credit: Nile Scott Studios.
Each performer delivers affecting and inviting vocals and their solo performances are the most memorable. The onstage musicians also interact with the performers and audience and the songs by The Lazours are an eclectic variety ranging from catchy to cathartic to ballads. Some of the highlights in the therapeutic sing-along include Let’s Go Walking, Into the Sky and the poignant Will You Let me Know.
Jordan Dobson in A.R.T.’s world-premiere production of Night Side Songs.
Credit: Nile Scott Studios.
Night Side Songs approaches this handful of tales with dark humor, absurdity, science and realism peppered with relatable scenarios. It can be uneven in tone at times. How can anyone not relate to overwhelming and unexpected medical bills and drug side effects, but a song showcasing how people inaccurately make assumptions how someone gets sick in The Reason comes off more condescending than sincere and funny. Illness is filled with fear and uncertainly. People just don’t know what to say.
Jonathan Raviv in A.R.T.’s world-premiere production of Night Side Songs.
Credit: Nile Scott Studios.
Part unconventional love story and part tragedy, Night Side Songs expresses appreciation for the little things in life and relies more on camaraderie and community than faith and optimism while traveling to some grim places. It is informative offering coping methods with the unexpected and it is important to have a show like this to bring support and solidarity in times like these, but however I was moved, I was still left uncomfortable.
American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8. Click here for more information and for tickets.
Boston Playwrights’ Theatre recently presented two world premiere productions for BPT’s Spring Rep Festival. Boasting some common themes, both are fitting companion pieces though one executes their ideas more fluidly than the other.
Both shows are rooted in preventing disaster and end the way they began with new meaning. While one travels through time while the other roams through a cosmic plane, both shows are motivated through grief, trauma, and discovery while featuring key twists on the journey. Both believe that changing their present circumstances will lead to better futures, but facing a world that cannot easily bend to their will.
Fear gives way to strength as one travels through space and the other among the stars.
Minou Pourshariati and Danny Bryck in ‘The Fig Tree, and the Phoenix, and the Desire to Be Reborn’ Photo by Benjamin Rose Photography
Boston Playwrights’ Theatre presented the world premiere of Brandon Zang’sRecursion of a Moth alongside Isabelle Fereshteh Sanatdar Stevens’ The Fig Tree, and the Phoenix, and the Desire to Be Reborn for BPT’s Spring Rep Festival through Sunday, March 9 live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts. Both shows ran approximately 80 minutes with no intermission. Click here for more information and for BPT’s future events.
REVIEW: A sky full of stars, transformation and resilience fuel Isabelle Fereshteh Sanatdar Stevens’ The Fig Tree, and the Phoenix, and the Desire to Be Reborn
In a country entrenched in war, two children meet under a mystical fig tree. One loves to sleep and the other constantly stands watch. However, their purpose under this tree unveils in significant ways from what they share to what they face.
Directed by Nikta Sabouri, The Fig Tree, and the Phoenix, and the Desire to Be Reborn by Isabelle Sanatdar Stevens is a mythological tale about love, grief, courage in the face of danger, war, loss, and unbreakable bonds. Minou Pourshariati and Danny Bryck are cosmically and supernaturally connected and that connection is explored meaningfully as transformation takes place around them.
Taking place in August 1988 during the Iran-Iraq War, Danny Bryck as Javeed and Minou Pourshariati meet under a fig tree. Mandana loves to sleep because she can speak to her late brother in her dreams while Javeed is afraid to sleep because he needs to stand guard to keep his family safe. For these two children whose bravery is ingrained in fear, they seem to become old souls overnight.
Danny Bryck and Minou Pourshariati in ‘The Fig Tree The Fig Tree, and the Phoenix, and the Desire to Be Reborn’ Photo by Benjamin Rose Photography
Skillfully taking on dual roles, Pourshariati and Bryck are adorable as children and revel in their roles sharing each other’s fears, prayers, anger and sadness as they struggle for certainty and to understand what is happening around them. Irresistibly endearing building a unique bond and vowing to change the world they live in and beyond, inquisitive Mandana and virtuous Javeed instill playfulness, imagination, and joy into these complex performances enhanced by bright and affectionate choreography as they share their creativity, energy and boundless imagination amidst the turmoil. Sporadically mature in thought and innocent in their approach, they squeal, leap and bounce in a stirring bitter sweetness during a serene interlude in a land where things can change at any moment as light and darkness are in constant battle.
Danny Bryck and Minou Pourshariati in ‘The Fig Tree, and the Phoenix, and the Desire to Be Reborn’ Photo by Benjamin Rose Photography
Lighting designer Grant Powicki and scenic design Cleo Brooks work together as twinkling lights, sunshine and glowing lanterns highlight a beautiful tree and wooded residential landscape which is unfurled by a retractable spool. Shadows give way to surprises and bring to life their shared stories. Sound designer Arshan Gailus is behind the immersive cosmic and natural harmony of this world.
The production contains a wealth of symbolism enmeshed in stories, objects, conversation and more. Funny, touching, powerful, and poignant, The Fig Tree, and the Phoenix, and the Desire to Be Reborn is an affecting and thought provoking journey worth taking.
REVIEW: Brandon Zang’s The Recursion of a Moth races against time
It is the 25th century and a couple of time traveling bureaucrats and ex lovers are sent to document time and find a woman named Chrys for undisclosed reasons. However, what transpires becomes far and away from what their mission entails into a journey rife with complications.
Alexander Holden and Jaime José Hernández in ‘The Recursion of a Moth’ Photo by Scornavacca Photography
Lighting designer Grant Powicki enhances Cleo Brooks’s simple black and white scenic design that colorfully depicts various dimensions and planes throughout the production. Fold out compartments depict a living room and kitchen as cast members change the props between scenes. Aubrey Dube’s radiating and moth-inspired clicking divide each scene while subtle and sparkling special effects drive this quantum leaping story.
Alexander Holden depicts resourceful time traveling bureaucrat Icarus heading to the Denver airport, his mysterious motivations behind a trench coat and glasses. Jaime José Hernández portrays Mikey, a commitment phobic time bureaucrat dedicated to saving his family and completing their current mission. However, Icarus has gone rogue with his own agenda to his timeline for good.
Alexander Holden and Jenny S. Lee in ‘The Recursion of A Moth’ Photo by Scornavacca Photography
The Recursion of a Moth explores generational patterns, family, the nature of suffering, and takes some liberties with time travel that becomes a bit too outlandish to be believable even if it would make for a nice story. Holden’s Icarus is obstinate and will stop at nothing to bend time according to his will whileHernández’s reasonable and grounded Mikey cannot help but remind him of time’s known limitations and consequences. However, Icarus knows far more than he is letting on and longs to change time piece by piece for what may become a better future.
Alexander Holden, Jenny S. Lee and Jaime José Hernández in ‘The Recursion of a Moth’ Photo by Scornavacca Photography
Jenny S. Lee as Chrys, Alexander Holden and Jaime José Hernández all convincingly convey the production’s intensity at the mercy of time. The moth’s role and recursion theory in this story is particularly fascinating. Full of twists and quick turns which at times can be confusing, the show may have benefited by a longer runtime for further development of these characters and to give the revelations more breathing room. The storyline winds into a major plot twist that seems too absurd to be believable even if it makes for a nice story. Recursion of a Moth has its bright spots, but especially under Back to the Future’s Doc Brown’s standards, certain twists would lead to a paradox.
Boston Playwrights’ Theatre presented the world premiere of Brandon Zang’s Recursion of a Moth alongside the world premiere of Isabelle Fereshteh Sanatdar Stevens’ The Fig Tree, and the Phoenix, and the Desire to Be Reborn for BPT’s Spring Rep Festival through Sunday, March 9 live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts. Click here for more information and for Boston Playwrights’ Theatre’s future events.
From traumatic to comical to poignant, Program #9 explores a variety of struggles among two people from strangers to spouses including grief, circumstances or growing apart.
Chain Theatre’s One Act Winter Festival continues both live stream and in person at the Chain Theatre in New York, New York through March 2. Erin Moughon’s Escape (The Pina Colada Song), Kevin Cheng’s Dear Diary and Pascal Phoa’s Last Train to Nevada are 15 minute One Act productions Kevin T. Durfee’s Between the Wired Fence runs 45 minutes. Click here for more information and for tickets.
Aren’t most breakups complicated? However, this particular one is on another level.
Claire Shiell and Matthew Menendez in Erin Moughon’s Escape (The Pina Colada Song) Photo courtesy of Chain Theatre
Candidly directed by Perryn Pomatto, Erin Moughon’sEscape (The Pina Colada Song) shares too small a snapshot into a relationship with quickly building tension as a woman breaks the news to her boyfriend that she wants to break up with him. What ensues is outside the expected as Claire Shiell and Matthew Menendez share some humorous moments unleashing frank relationship truths along the way building to a fascinating revelation. Escape leaves more questions that beg for a prequel or a sequel to this one act.
Elizabeth McBryde and Kevin Cheung in Kevin Cheng’s ‘Dear Diary’ Photo by Genda Lin @gendalin
With ruminating direction by Emily M. White, the cherry blossoms are in bloom as Elizabeth McBryde as reservedJosie settles on a Central Park bench to verbalize her thoughts in her daily journal entry in Kevin Cheng’s Dear Diary. However, her sensible thoughts are interrupted by an encounter with Kevin Cheng who is memorable as optimistic and cheerful Pablo practicing a speech. Dear Diary is poignant and funny with more to the story that Josie can reveal as disarming Pablo charms her into helping him out and they discover more about one another.
Elizabeth McBryde and Kevin Cheng in Kevin Cheng’s ‘Dear Diary’ Photo by Genda Lin @gendalin
What if escape is your last hope?
Pascal Phoa’sLast Train to Nevada focuses on a couple who are running out of options in 1942. Their only hope of being together requires a drastic change that is sure to change both their lives. With stirring direction by Yibin Wang, Pascal Phoa portrays an uncertain Freddy and Gwyneth Benitez-Graham as a despairing Ida from different countries in a dangerous and intolerant climate. Phoa and Graham bring complexity to their character’s motivations as time is running out and they are in urgent need of an answer.
Pascal Phoa and Gwyneth Benitez-Graham in Pascal Phoa’s ‘Last Train to Nevada’ Photo courtesy of Chain Theatre
At some point, something has to give.
Written and directed by Kevin T. Durfee, Between the Wired Fence reflects on timing and aspiration as a couple metaphorically stares at one another from two sides of a figurative fence.
Elisa Falanga and Shannon Adams-Gray in Kevin T. Durfee’s ‘Between the Wired Fence’ Photo courtesy of Chain Theatre
Shannon Adams-Gray offers a thought provoking performance as overwhelmed but successful financial adviser Sawyer who was once an aspiring actress. Daniel Bishop portrays Odie, Sawyer’s spontaneous and intuitive husband who tries to help her cope as he pursues a career in performance art. Bishop as Odie’s outlandish and over the top persona is a seeming contrast to Adams-Gray as Sawyer’s forced sensibilities, but there lies an underlying charm and clear bond in their brief stage time together.
Daniel Bishop Kevin T. Durfee’s ‘Between the Wired Fence’ Photo courtesy of Chain Theatre
When Elisa Falanga delivers a mysterious package, it springs forth an eye opening reckoning for Sawyer and a new understanding on how they can both move forward.
Between the Wired Fence offers humor and insight on both sides of the fence into life’s delicate timing while touching upon the anxieties and pressures of the world and what it means to succeed.
Chain Theatre’s One Act Winter Festival continues both live stream and in person at the Chain Theatre in New York, New York through March 2. Click here for more information and for tickets.
Flanked with brass and crystal embellishments, a gorgeous Vienna apartment is festively adorned as a beautiful upper class family celebrates Hanukkah….and then Christmas and the Nativity. It is subtle at first, but there lies a divide in this extended Jewish family reaching further than 1899. Over the stretch of 56 years through war, strife, turmoil, heartache and tragedy lays a growing divide that impacts generations and it only gets more complicated.
Directed conscientiously by Carey Perloff, The Huntington and Shakespeare Theatre Company presents Tom Stoppard’s epic Tony Award-winning production of Leopoldstadt live and in person at The Huntington in Boston, Massachusetts through October 13. This multi-generational production is two hours and twenty minutes plus one 15 minute intermission. Click here for more information and for tickets.
Left to right: The cast of Leopoldstadt b. Forefront (L to R): Brenda Meaney and Rachel Felstein Tom Stoppard’s Leopoldstadt; directed by Carey Perloff September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave. Photo by Liza Voll
The Huntington has recently been presenting family multi-generational productions which include The Lehman’s Trilogyalso directed by Perloff about the Lehman Brothers spanning a 163-year period before exploring the world of the Salomon family in Joshua Harmon’s Prayer for the French Republic spanning almost 70 years.
Leopoldstadt is inspired by Stoppard’s own family experiences which span a pivotal time from 1899 to 1955. The show has a large cast which explores resilience, identity, grief, survival, fear, hate, and the struggle with one’s own faith in the face of growing darkness.
The cast of Tom Stoppard’s Leopoldstadt; directed by Carey Perloff September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave. Photo by Liza Voll
Scenic designer Ken MacDonald impressively reflects transformation over time starting with the opening of the production in an opulent Vienna apartment with built-in bookshelves packed with various selections, a large decorated window with a stellar view of the city, a feast at the dining room table with a real Christmas tree lit with live burning candles. The Merz-Jacobovicz family is decked out in their best in colorful embroidered gowns and classic patterns in velvet and lace as the men dress in timely suits by costumer Alex Jaeger. A portrait of a family celebrating Hanukkah and Christmas on the same day as Phyllis Kay, in a dual role as Eva and here as fascinating Grandma Emilia, uses terms seemingly lightly such as ‘Christianized’ and presenting the tree ‘for the papists.’
Left to right: The cast of Leopoldstadt b. Foreground (L to R): Brenda Meaney, Nael Nacer Tom Stoppard’s Leopoldstadt; directed by Carey Perloff September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave. Photo by Liza Voll
This extended family is its own melting pot of beliefs and heritage which is often explored through deep discussion between Brothers Nael Nacer as textile manufacturer Hermann and Firdous Bamji as mathematician Ludwig. The conversations intensify as the show progresses between Hermann as a Jew converted to Catholicism and Jewish Ludwig as they explore politics and their stirring reasons behind their demeanors and beliefs as time and turmoil takes hold through two world wars and as a new generation enters the world.
Left to right: Holden King-Farbstein, Joshua Chessin-Yudin, Quinn Murphy, Firdous Bamji Tom Stoppard’s Leopoldstadt; directed by Carey Perloff September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave. Photo by Liza Voll
Another key figure in the production is Brenda Meaney in a nuanced depiction of Hermann’s complex wife Gretl who is Catholic yet enamored with Jewish tradition and takes part in a scandalous and unpredictable storyline. Samuel Adams is also memorable in a dual role as egotistical and shrewd Officer Fritz and English journalist Percy. However, Mishka Yarovoy is haunting in a dual role as devastated soldier Jacob and Leo who are both replete with loss.
Left to right: Mishka Yarovoy, Nael Nacer, Brenda Meaney Tom Stoppard’s Leopoldstadt; directed by Carey Perloff September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave. Photo by Liza Voll
This historically significant and symbolic production takes some time to build as does the nature of fascism in its escalating subtlety and the revelations in this production are deep and impactful. The show’s affecting familial layers unfurl with resonance and familiarity as startling details take shape about these critical years including a riveting depiction of The Night of Broken Glass in 1938 infusing Jane Shaw’s stunning sound design, Robert Wierzel’s evocative lighting and Yuki Izumihara’s astonishing projections sure to stay with you long after the production has ended. Leopoldstadt is a timeless and cautionary piece of theatre not to be missed.
The cast of Leopoldstadt Tom Stoppard’s Leopoldstadt; directed by Carey Perloff September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave. Photo by Liza Voll
Directed conscientiously by Carey Perloff, The Huntington and Shakespeare Theatre Company presents Tom Stoppard’s epic Tony Award-winning production of Leopoldstadt live and in person at The Huntington in Boston, Massachusetts through October 13. This multi-generational production is two hours and twenty minutes plus one 15 minute intermission. Click here for more information and for tickets.
A lithe dancer, strong local imagery, a powerful narrator and an immersive stage briefly come together in a compact space for a memorable experience.
Annas-Lee Design and Graham Cole continue ‘Origami Night: a new choreopoem’ live and in person at the Plaza Blackbox Theatre at Boston Center for the Arts in Boston, Massachusetts through Sunday, August 4. This swiftly paced production is approximately 50 minutes with no intermission and presented as an up close and personal theatre in the round. Click here for more information and for tickets.
Origami Night continues through August 4. Photo courtesy of Annas-Lee Design and Graham Cole
Meditative, enchanting, and complex, Origami Night: a choreopoem is an intense experience unlike anything I have seen before. It delves into powerful themes such as grief, war, passion, trauma, and sheer joy in a unique manner that is constantly evolving as the production journeys through a woman’s life. At first, dancer Elenaluisa Alvarez performs an interpretive dance to Annas-Lee’s dynamic sound design and Boston-based author and poet Pamela Annas’s contemplative work narrated rhythmically by Luz Nicolás, but Alvarez has a mind of her own as does her surroundings. It is an unpredictable piece as Christopher Annas-Lee’s thunderous, alarming, tumultuous, dreamlike, soothing, and flashing multicolor lighting becomes its own character. The lighting leads the dancer which is at times funny and unique, but that will change as well. Red circle lighting where the narrator mentions red heels is a nice touch as well as the notable vibrations depicted by Annas-Lee.
Elenaluisa Alvarez in Graham Cole; “Origami Night”
Fueled by Graham Cole’s emotive, symbolic and at times humorous and passionate choreography, Alvarez is coy, scowls, flaunts and it is easy to imagine her skipping along a windswept aqua coast as it is to visualize her charming playfulness during a dance contest to big band rhythms. Virginia Belt’s loose and symbolic clothing helps to maintain a dreamlike atmosphere as Alvarez spins elegantly and then at once contorts in tight movements from stress and exhaustion.
Elenaluisa Alvarez in Graham Cole; “Origami Night”
Origami Night is a lot to take in and although printing the verses in the background might have been helpful, it might have also been distracting with the activity coinciding onstage. The narrator is compelling with a balanced presentation where one does not get lost in the dance over the narration. However, the captivating lighting may ensnare you in places that lead to its intriguing conclusion.
Graham Cole; “Origami Night”
Annas-Lee Design and Graham Cole continue ‘Origami Night: a new choreopoem’ live and in person at the Plaza Blackbox Theatre at Boston Center for the Arts in Boston, Massachusetts through Sunday, August 4. This swiftly paced production is approximately 50 minutes with no intermission and presented as an up close and personal theatre in the round. Click here for more information and for tickets.
Its cadence echoes into a peerless and infectious glee that troubled Khonen, depicted by Andrey Berkovskiy, finds irresistible. It does not take long to see that Khonen will go to the ends of the earth and beyond seeking that voice chiming in its ethereal splendor.
Unique, haunting, funny, charming, spiritual, and exceptionally creative, The Dybbuk: Between two worlds is a mesmerizing must-see theatrical experience.
Andrey Berkovskiy and Yana Gladkikh Photo by Irina-Danilova
I never use the term ‘must see’ lightly, but it nonetheless fits this particular production in all of its unexpected and immersive twists and turns set exclusively inside a Jewish synagogue. Brimming with unconventional creativity and cultural tradition, The Dybbuk is a spectacular journey and a dark tale steeped in meticulously timed and atmospheric special effects as it unveils a thrilling and enchanting piece of ancient Jewish folklore.
Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues The Dybbuk: Between two Worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, June 30. This semi-interactive theatrical experience is not limited to the stage and runs 1 hour and 50 minutes with no intermission. Click here for more information and for tickets.
The Set of ‘The Dybbuk’ in Vilna Shul .Photo by Irina Danilova
The Dybbuk: Between two worlds tackles love, marriage, life, death, grief and the in between as well as the significance of a synagogue that still stands after all the turmoil it has endured. As the play observes describing a synagogue, ‘The walls are damp with tears.’ A synagogue can be the center of sorrow or great joy, but above all, a sanctuary of hope when all seems lost.
Andrey Burkovskiy. and Yana Gladkikh Photo by Irina Danilova
What makes this production so exciting, beautiful and so downright impressive is this complex and powerful tale is wrapped in a riveting experience. The Dybbuk is a grand and exhilarating journey, but it also depicts sweet moments of simplicity from Andrey Berkovskiy as Khonen and Yana Gladkikh as Leah with finesse. Both characters shine in their perspective roles but Berkovskiy’s wondrous curiosity, playfulness, mischievousness, passion and anguish boast a spellbinding charisma. While his good intentions radiate in the smallest of gestures, Berkovskiy’s wide eyed wonder of this world and his boldness are often at odds as he agonizes over his fate. Gladkikh as Leah demonstrates a beautiful vulnerability and conflict in her delicate and porcelain like features infused with a soothing and melodious voice that she also uses to sing. Gladkikh’s Leah is delightful, innocent, romantic, and naïve sharing with Berkovskiy a captivating, giddy, and endearing playfulness in a situation that is eternally complicated.
Leah flies to Khonen. Photo by Irina Danilova
This enthusiastic cast blends intensity and humor and although this is an ancient tale, Golyak strings together elements of the traditional and the contemporary. Wearing a string of pearls and a black dress, Deb Martin portrays Leah’s grandmother with a rigid frame yet bold and heightened awareness. Shrewd and protective with a dry sense of humor, Martin as Frade is not to be underestimated.
Deb Martin as Frade. Photo by Irina Danilova
The Dybbuk’s immersive and unpredictable setting is fueled by ingenious creativity in Jeff Adelberg’s luminous lighting design seamlessly paired with Fedor Zhuravlev’s robust sound that animates this dark, mystical and ancient world filled with rustic crystal chandeliers and scaffolding that sit beneath a vast skylight by scenic designer Igor Golyak with Sasha Kuznetsova. The Dybbuk’s emotive light and sound deliver an ominous quality, humor, and awe-inspiring surprise nothing less than magical. The transformation of a simple piece of plastic is just a sample of the inventive flair that helps to piece together this often poetic tale.
Andrey Burkovskiy calling to Leah. Photo by Irina Danilova
Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues The Dybbuk: Between two worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, June 30. This semi-interactive theatrical experience is not limited to the stage and runs 1 hour and 50 minutes with no intermission. Click here for more information and for tickets.
A freak accident and a strange wake beg a lot of questions. Then suddenly, a combustible force enters Anna’s smoldering world and there is little she can do to stop it.
With nimble direction by Daniel Bourque, Hub Theatre Company of Boston sparks its 12th season with Lanford Wilson’sBurn This live and in person at Boston Center for the Arts in Boston, Massachusetts through Sunday, April 21. This show contains strong language as well as adult themes and runs approximately two and a half hours with one intermission. All shows are at a pay what you can basis. Click here for more information and for tickets.
Steve Auger, Tim Hoover, Kiki Samko, and Victor L Shopov in Hub Theatre Company of Boston’s ‘Burn This’
Inside an upscale New York City loft apartment, Burn This delivers firecracker moments which starts as a slow burn. The one with the long fuse is Kiko Samko as Anna, an often saintly dancer who is experiencing a creative block after the death of her roommate, Robbie. With flirtatious flair and a dramatic persona that relieves some of the production’s tense moments, Steve Auger humorously portrays Anna’s other roommate, Larry. Anna is involved in a complicated relationship with Tim Hoover as wealthy screenwriter Burton who is struggling with his next screenplay. United in their grief over the loss of Robbie, they share hesitation about their future.
Kiki Samko in Hub Theatre Company of Boston’s ‘Burn This’ Photo credit to Tim Gurczak
With the audience situated on two sides of the stage, Justin Lahue’s elegant and spacious set design of an upscale loft apartment features a cluttered kitchen, modern furniture and a broad black and white staircase as well as elements of artistic flair including a shadow painting of a dancer. Distinct modern light bulbs hang from the ceiling and well-timed lighting by Emily Bearce bolsters the production’s warm and intense moments along with Asad Harwick’s occasionally startling sound design. Costume designer Nohely Roman blends sophisticated and athleisure leaning on silks and a (surely) designer black tracksuit, pinstripes, and lace in bold and classic colors.
Kiki Samko and Tim Hoover in Hub Theatre Company of Boston’s ‘Burn This’ Photo credit to Tim Gurczak
Samko’s Anna is a complex character who shares a natural camaraderie with Auger and Hoover as they embark on some animated discussions about life and their artistic challenges. Hoover as Burton is sensitive and protective of Anna and they clearly share a sweet rapport. Anna is drawn to taking care of people and her patience and considerate nature does not always serve her well.
Kiki Samko and Victor L. Shopov in Hub Theatre Company of Boston ‘Burn This’ Photo credit to Tim Gurczak
Making a firecracker of an entrance is Victor L. Shopov as Robbie’s fast talking, furious, and often tumultuous brother, Pale and suddenly, Anna’s mostly predictable world abruptly experiences some chaos. Samko and Shopov possess some genuine chemistry and Burn This dives into extremes between calm and calamity in the form of Pale who infuses a lightning rod of energy into each appearance. In a gray suit, Shopov’s Pale is an all business workaholic while Samko’s Anna is meditative and nonviolent. Their encounters are fascinating and at times infuriating as Anna’s long fuse is perpetually tested to the point when you just want Anna to finally say enough while Samko and Shopov keeps the audience invested in the outcome. Samko’s horrified stares and Shopov’s potent audacity are much more than meets the eye and this unique connection delivers some surprising results.
Kiki Samko in Hub Theatre Company of Boston’s ‘Burn This’ Photo credit to Tim Gurczak
Burn This is an exploration of loss, the confusion that ensues, and the journey of finding hope when all looks bleak. That journey can be uncomfortable but necessary in order to find the way through and Burn This lends some humor and hope, even in an uncertain future.
With nimble direction by Daniel Bourque, Hub Theatre Company of Boston sparks its 12th season with Lanford Wilson’s Burn This live and in person at Boston Center for the Arts in Boston, Massachusetts through Sunday, April 21. This show contains strong language as well as adult themes and runs approximately two and a half hours with one intermission. All shows are at a pay what you can basis. Click here for more information and for tickets.
For a show about grief, life springs forth briskly inside the pristine walls of hospital quarters that house only a few scattered chairs. The radio comes to life with a few select news and pop culture references signaling its 80s setting. Much of what is portrayed isn’t what it seems and Director Eric Tucker and scenic designer Deb Sivigny provide order to the disarray as props twist, sashay, and sway in the semi-interactive chaos at a terrific pace. In a particular highlight, members of the cast physically pile together to form a bed as they rely on each other for support while the dialogue flows and it all works beautifully. Angels in America: Millennium Approaches somehow makes sense of it as it embraces the manic nature of the world and in this genius and raw staging, consistently propelling it forward.
Eddie Shields as Prior Walter and Zach Fike Hodges as Louis Ironson in Central Square Theater’s ‘Angels in America Part 1’ Photo by Nile Scott Studios
Central Square Theater and Bedlam present Tony Kushner’s Pulitzer Prize-winning and Tony Award-winning Angels in America Part 1: Millennium Approaches and Part 2: Perestroika at select times through Sunday, October 8 live and in person at Central Square Theatre in Cambridge, MA. This is a review of Part 1 which is three and a half hours including two intermissions and contains adult content, nudity, and some graphic scenes. Click here for more information and for tickets.
This multi-talented, collaborative cast not only demonstrate physical prowess with its integral props and settings for each energetic and urgent scene, but some depict a mix of complex and sympathetic characters which intersect into different storylines. Debra Wise slips into a beautiful Yiddish accent as a Rabbi tasked with officiating a funeral, a significant phantom from the past, and later as a stern Mormon mother. The Rabbi’s terse, wry wit and candid delivery highlight Wise’s apt skills before she later manifests Hannah Pitt’s guarded and concerned motherly misgivings. One looks death in the eye, one has faced death and the latter is afraid to watch. At one point, the Rabbi examines an immigrant’s journey by exclaiming, ‘You do not live in America. No such a place exists.’
Central Square Theater Angels in America Part 1 Debra Wise Photo by Nile Scott Studios
Angels in America takes off with the hustle and bustle of death and business that zings and marches as acclaimed lawyer and power broker Roy Cohn, depicted with biting wit and magnetic, yet morbid cynicism by Barlow Adamson meets his new Mormon assistant from Salt Lake City, Joe Pitt, portrayed with principled diffidence by Alexander Platt. Adamson and Platt are quick to establish a mentorship as they learn more about each other.
Maurice Emmanuel Parent, Zach Fike Hodges, Kari Buckley, and Eddie Shields in Angels in America Part 1 Photo by Nile Scott Studios
Angels in America addresses many complex questions including the nature of love, grief, religion, freedom, and the state of the world where hope is so hidden and nearly bereft of existence. John R. Malinowski’s menacing lighting is at once investigative and haunting as it veers and shifts so cleverly that it is difficult to tell if it is shedding light in a dark world or exposing the dark with light. The show profoundly tackles loneliness in most of its characters and how each one of them copes with their present circumstances. Eddie Shields as Prior Walter gets the brunt of it physically and psychologically as he is faced with HIV. Using humor and escapism to mask his inner turmoil, Shields delivers a bold and heartrending performance facing obstacle after obstacle.
Maurice Emmanuel Parent, Helen Hy-Yuen Swanson and Kari Buckley in Central Square Theater’s ‘Angels in America Part 1’ Photo By Nile Scott Studios
Kari Buckley suffers a quieter battle as agoraphobic Harper. Buckley’s gleaming smile, endearing and quirky inquisitiveness, and denial masks her own inner turmoil as she turns to medication for relief and as a life raft for her unhappiness. Harper muses, ‘People are like planets. You need a thick skin.’ Buckley and Maurice Emmanuel Parent as Mr. Lies share some whimsical scenes that cleverly act as a relief from the heavier material. Maurice Emmanuel Parent also portrays supportive, compassionate, and reasonable Belize who levelheadedly sets the record straight in a debate about love and politics with Zach Fike Hodges as Louis who is doing everything he can to avoid the truth about Prior’s condition. Hodges weaves impulsively in out of the five stages of grief and in his suffering further complicates things.
Central Square Theater Angels in America Part 1 Maurice Emmanuel Parent and Zack Fike Hodges Photo by Nile Scott Studios
Angels in America is not for the faint of heart. It is rueful, witty, cynical, sobering, and unflinchingly unearths the shadows and heartache of the boundaries of freedom in a world gone mad before it sheds some light. Though both parts of Angels in America can exist on their own, Part 1’s conclusion leaves plenty of room for Part 2.
Helen Hy-Yuen in Central Square Theater’s ‘Angels in America Part 1’ Photo by Nile Scott Studios
Central Square Theater and Bedlam present Tony Kushner’s Pulitzer Prize-winning and Tony Award-winning Angels in America Part 1: Millennium Approaches and Part 2: Perestroika at select times through Sunday, October 8 live and in person at Central Square Theatre in Cambridge, MA. Part I is three and a half hours including two intermissions and contains adult content, nudity, and some graphic scenes. Click here for more information and for tickets.
