With Under the Radar bouncing back and Prototype and Exponential still going strong, it was challenging, surprising festival season all over again.
This enduring mother-daughter story about undocumented Latina immigrants has been turned into a celebratory crowd pleaser, for better and worse.
A recent visit to Korea demonstrated that musical theatre can offer emotional and visual journeys beyond language, though not every choice translates well.
From Bernard Herrmann to Luis Buñuel, filmic influences found their way into his musicals’ form and content, up to and including his final show, ‘Here We Are.’
How the Boston-area theatre, which recently announced its closure after 4 decades, gave a young critic hope for the art form.
David Byrne’s Broadway musical is a breakthrough for Filipino American performers, but at what cost to the historical truths it dances around?
Over the past year, no fewer than 10 shows on both sides of the Atlantic have addressed the historical rise of Nazism and/or the troubling resurfacing of antisemitism.
For all its faults, the form (and its fans) can’t help but stand up and sing for the underdog, for the awakened conscience, for moments of joyful liberation.
Under the Radar, Exponential, and Prototype at last returned in person this year, and the pickings were as unexpected and various as ever.
The writers of ‘Vatican Falls,’ ‘How I Learned to Drive,’ and ‘Downstate’ take varied approaches to depicting pedophiles—and reckoning with what they deserve.