by SOPHIE KERMAN and ANNA ROSENSWEIG The Flying Foot Forum, a percussive dance/theatre company directed by Joe Chvala, took on a very ambitious project with Heaven: to portray the complicated politics and deep suffering of 1990s Bosnia through dance, music, and drama. It was clear from the outset of this production, which played at the…
by ANNA ROSENSWEIG Sergius Saranoff is the very model of a Major and a gentleman. We learn this in the first scene of George Bernard Shaw’s Arms and the Man when his fiancée, Raina Petkoff, coos over a photograph of him in full officer’s garb and revels in reports of his valor and bravery. Sergius…
by SOPHIE KERMAN and ANNA ROSENSWEIG While navigating the winding road to the Centennial Showboat for the Frank Theatre production of Cabaret, we remarked that one of the things that makes theater-going special is the process of getting there. Unlike reading a book in your living room or going to a convenient showing at your…
by SOPHIE KERMAN Sometimes, it’s good to leave a theater a little bit dissatisfied. The Sandbox Theatre‘s interpretation of Fargo– which they rightly call “more inspiration than adaptation” – is highly unsatisfying for exactly the right reason: there isn’t enough of it. The production, just an hour long, is so varied and unexpected that the…
by ANNA ROSENSWEIG Watching Jean-Paul Sartre’s No Exit is a lot like watching reality television. Personalities clash and secrets are revealed. Alliances are formed, broken and reconstituted. The more we know about each character, the more we are repulsed. And yet powerful voyeuristic impulses keep us riveted to every sophomoric outburst and salacious revelation. But…
by SOPHIE KERMAN and ANNA ROSENSWEIG “The Little Prince,” the classic French children’s-book-for-adults by Antoine de Saint-Exupéry, is all about growing up — and how important it is not to. Joshua Busick’s recent one-man adaptation at the Bryant Lake Bowl Theater earnestly adopts this love of childhood curiosity as its premise. With a trunk full…
