Huntington’s ‘Common Ground, Revisited’ Asks Us to Look Back In Order to Move Forward

The cast of Common Ground Revisited at The Huntington. Photos: T Charles Erickson

by Julie-Anne Whitney

Common Ground, RevisitedCo-conceived and adapted by Kirsten Greenidge; co-conceived and directed by Melia Bensussen; set design by Sara Brown; costume design by An-lin Dauber; lighting design by Brian J. Lilienthal; sound design by Pornchanok Kanchanabanca; projection design by Rasean Davonté Johnson; wig/hair and makeup design by J. Jared Janas; dramaturgy by Neema Avashia; stage-managed by Emily F. McMullen. Co-produced by The Huntington Theatre and ArtsEmerson at the Calderwood Pavilion/BCA through July 3, 2022.

Kirsten Greenidge’s new play, Common Ground, Revisited is inspired by and based in part on J. Anthony Lukas’1986 Pulitzer Prize-winning non-fiction book, Common Ground: A Turbulent Decade in the Lives of Three American Families. The primary focus of both texts is on class and racial tensions in Boston during the 1974 busing crisis when U.S. District Judge Arthur Garrity Jr. ordered nearly 20,000 Black and white students to be bused to/from the city’s geographically segregated public schools. The mandate led to years of violent protesting, significant demographic changes in the city and surrounding suburbs, and a dramatic decrease in enrollment in area schools that continues to this day. Fifty years after the 1972 Morgan v Hennigan case that led to Garrity’s ruling, Boston’s public schools are even more divided than they were back then with “two-thirds of BPS students attend[ing] intensely segregated schools where students of color make up 90% or more of the total enrollment.”

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Gloucester Stage Company’s ‘Gloria’ Provocatively Asks, “Who Lives, Who Dies, Who Tells Your Story?”

Cast of Gloucester Stage’s production of “Gloria” by Branden Jacob Jenkins. Photos: Shawn G. Henry

‘Gloria’ — written by Branden Jacobs-Jenkins. Directed by Bryn Boice. Scenic Design by Jeffrey Petersen; Costume Design by Rachel Padula-Shufelt; Lighting Design by Aja M. Jackson; Sound Design by David Remedios. Presented by Gloucester Stage Company, 267 East Main St., Gloucester through June 26.

by Shelley A. Sackett

‘Gloria’ takes us on a ride inside the rollercoaster that is the essence of a 2010s Manhattan cultural magazine’s editorial assistant bullpen subculture. (Its playwright, Branden Jacobs-Jenkins, worked at The New Yorker for three years). These players are unapologetic and clear about their singular goal: to leave their dead end stepping-stone jobs, climb out of the low prestige depths of editorial assistantship and secure a book deal before turning thirty. Each is constantly on the backstabbing prowl in search of that tipping point moment that will catapult them out of their murky office pit.

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Carter, Odetoyinbo Shine in ‘The Light’ at Lyric

Yewande Odetoyinbo and Dominic Carter in ‘The Light’ at Lyric Stage. Photos by Mark S. Howard

by Mike Hoban

‘The Light’ – Written by Loy A. Webb; Directed by Jacqui Parker; Scenic Design by Baron E. Pugh; Sound Design by Owen Meadows; Lighting Design by Elmer Martinez; Costume Design by Jez Insalaco. Presented by the Lyric Stage Company at 140 Clarendon St. Boston through June 26.

The opening scene of The Light, the final offering of the 2021-2022 seasonat Lyric Stage, has the look and feel of a lighthearted rom-com. Rashad, a single dad who works as a fireman, is frantically straightening up the apartment of his girlfriend Genesis, a principal at a Chicago charter school, as he nervously prepares to ask her to marry him. When she arrives, she suspects something is up, but wonders if he has remembered that this is the two-year anniversary of their first date. What sounds like the premise of a thousand sitcoms soon takes a decidedly more serious tone. So instead of a comic romp, we get a highly-charged story loaded with twists and turns that becomes a serious discussion of how men and women – particularly Black women – view the issue of sexual violence against women in the post #MeToo world.

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A.R.T. Delivers a Rousing Pre-Broadway Run of America’s Origin Story,  ‘1776’

Cast of ‘1776’ at American Repertory Theatre

‘1776’ – Music and Lyrics by Sherman Edwards; Book by Peter Stone; Based on a concept by Sherman Edwards Directed by Jeffrey L. Page and Diane Paulus; Choreography by Jeffrey L. Page; Music Direction by Ryan Cantwell; Scenic Design by Scott Pask; Costume Design by Emilio Sosa; Lighting Design by Jen Schriever; Sound Design by Jonathan Deans; Projection Design by David Bengali. Co-presented by the Roundabout Theatre Company (RTC) and the American Repertory Theatre, at the Loeb Drama Center, 64 Brattle St. Cambridge through July 24th.

by Mike Hoban

I must admit I was not overly enthused on my way to Brattle Street for the pre-Broadway opening of the musical 1776. The A.R.T.s 2021-2022 season, with the exception of the marvelous opening tap showcase, Ayodele Casel: Chasing Magic, has largely been one of well-intentioned activism superseding any meaningful art, resulting in a string of preaching-to-the-choir productions that made me long for the dopey good fun of something like Waitress (which also had a pre-Broadway opening at the A.R.T.). A pair of climate change-themed shows Wild (great score, but a book that seemed like it was penned by Sid & Marty Kroft of “H.R. Pufnstuf” fame), and the spectacularly dreadful Ocean Filibuster made me wonder if this once-venerable institution had lost its way and would no longer deliver the creative energy blasts of shows like Six, Jagged Little Pill, The Black Clown, and Natasha, Pierre and the Great Comet of 1812.

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Cirque du Soleil Celebrates a Stunning Return to Boston with “Crystal”  

Cast of Cirque du Soleil’s ‘Crystal’

by Michael Cox

The 42nd original show from this live entertainment leader since it’s inception in 1984, Crystal is a high-energy ice ballet, featuring light comedy, music, dance and the signature high-flying acrobatics that defines what the circus has become in this day and age. 

Sure, we’ve lost the lions, the elephants, the freaks, the geeks and the ring master that wrangles all these things together. No problem, we have the essentials — the greatest of acrobats and the most charming of clowns. Those two things have kept this institution charging into the 21st Century.

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Actors’ Shakespeare Project’s ‘The Bomb-itty of Errors’ Brings out The Bomb in The Bard

Cast of Actors’ Shakespeare Project’s ‘The Bomb-itty of Errors’

‘The Bomb-itty of Errors’ — Written by Jordan Allen-Dutton, Jason Catalano, Gregory J. Qaiyum, Jeffrey Qaiyum and Erik Weiner. Based on ‘The Comedy of Errors’ by William Shakespeare. Directed by Christopher V. Edwards. Scenic Design by Baron E. Pugh; Costume Design by Zoe Sundra; Lighting Design by Max Wallace; Props Design by Steve Viera, Sound Design by Abraham Joyner-Meyers. Presented by the Actors’ Shakespeare Project at the Charlestown working Theater, 442 Bunker Hill St., Chares through June 26.

by Shelley A. Sackett

Actors’ Shakespeare Project’s “The Bomb-itty of Errors” is perfect pre-summer fare. Hip-hop and rap, a live DJ, a brilliantly exhaustive (and sometimes exhausting) script, some sublime acting and — as if that’s not enough — the Bard himself, camouflaged but hardly hidden. All wrapped neatly in a 90-minute intermission-less package that is as invigorating as it is boisterous.

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Ogunquit Playhouse’s Beat Goes On with ‘The Cher Show’

Charissa Hogeland (Lady), Sara Gettelfinger (Star), Madeline Hudelson (Babe) in ‘The Cher Show’ at Ogunquit Playhouse. Photos by Nile Hawver, Nile Scott Studios.

‘The Cher Show’ – Rick Elice (writer), Gerry McIntyre (Director), Jane Lanier (Choreographer), Kristin Stowell (Music Director), Andy Walmsley (Set Design), Richard Latta (Lighting Design), Bob Mackie (Costume Design), Roxanne De Luna (Wig Design), Kevin Heard (Sound Design), John Narun (Projection Design). Presented by the Ogunquit Playhouse through June 25th.

by Linda Chin

Ogunquit Playhouse is New England’s grande dame of the summer stock circuit, making The Cher Show an entirely fitting choice to open the theatre’s 90th season in grand style.  With a book by Rick Elice (Jersey Boys) and 35 tunes, this show about Cher’s early life and career spanning six decades is not your average musical, but in the “juke box musical” or bio-musical” category. The archival black-and-white clips from The Sonny and Cher Comedy Hour, colorful, over-the-top costumes by fashion designer Bob Mackie, and adoring (and adorable) back-up dancers make this production part-documentary, part-TV series, part-runway show, part-sketch comedy and nightclub act.

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Theatre by the Sea’s ‘Million Dollar Quartet’ is a High Energy Musical Extravaganza

The cast of MILLION DOLLAR QUARTET playing at Theatre By The Sea thru June 18, 2022. Photos by Mark Turek

by Tony Annicone

Owner and Producer Bill Hanney opens his historic “Theatre by the Sea” after a two-year pandemic with “Million Dollar Quartet.” This Tony nominated musical is set on December 4, 1956, when an extraordinary twist of fate brought Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley together at Sun Records in Memphis for what would be one of the greatest jam sessions ever. It tells the tale of record producer, Sam Phillips, who brought these four stars together for a once in a lifetime jam session –  before Jerry Lee Lewis became famous. Sam wanted Carl Perkins and Johnny Cash to sign future contracts with his record label. Elvis, whom Sam sold his contract to RCA and has become a Hollywood movie star, brings his girlfriend to the meeting, while Jay Perkins and their friend, Fluke are also there. This high energy musical extravaganza enthralls you from start to finish. Director Greg Santos picks the best performers for these roles so you can forget about your cares and woes to escape back in time to Memphis, Tennessee to witness Rock n Roll over 60 years ago.

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BLO’s ‘Champion: An Opera in Jazz’ Tackles Fate, Faith, Forgiveness and Redemption

by Shelley A. Sackett

Champion: An Opera in Jazz.” Music by Terence Blanchard; Libretto by Michael Cristofer. Music Direction by David Angus; Music Conductor – Kwamé Ryan; Set Design by Sara Brown; Costume Design by Trevor Bowen; Lighting Design by Marcus Doshi. Produced by Boston Lyric Opera at the Emerson Cutler Majestic Theatre, 219 Tremont Street, Boston. (Run has ended)

Switching gears overnight due to pandemic-related issues, Boston Lyric Opera is to be commended for its recent perseverance and quick-footed adaptability. Instead of offering three performances of “Champion: An Opera in Jazz” as a full opera as rehearsed and planned, the company pivoted to only two concert-style productions with the masked orchestra on stage, costumed chorus in balcony box seats and main performers making do with a sliver downstage.

The only downside to the downsizing was that fewer people were able to experience this ambitious, modern masterwork that brings to life boxer Emile Griffith’s complicated story through a heart-rending melding of music styles and poignant lyrics. By the show’s end — at least in my row — there was not a dry eye. And isn’t that, after all, why we go to the theater and especially to opera? To feel?

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GBSC’s ‘Miss Holmes Returns’ Is Not Just for Sherlock Fans

Marge Dunn, Alexander Platt, and Shonna Cirone in GBSC’s ‘Miss Holmes Returns’

by Shelley A. Sackett

“Miss Holmes Returns” — Based on the characters by Sir Arthur Conan Doyle. Written by Christopher M. Walsh. Directed by Weylin Symes. Set Design by Katy Monthel; Lighting Design by Corey Whittemore; Sound Design by David Remedios; Costume Design by Deirdre McCable Gerrand. Produced by Greater Boston Stage Company, 395 Main St, Stoneham, MA. (Run has ended)

In this world premiere, the all-male main characters of Sir Arthur Conan Doyle’s famous mysteries are recast as women. Miss Sherlock Holmes and Dr. Dorothy Watson are called upon to get to the bottom of a murder (or two) for which an Indian nurse is framed. Along the way, they encounter the effects of racism, sexism, classism and the Contagious Disease Act, laws enacted by men to “tell women what they can and cannot do with their own bodies.”

The Victorian era never seemed so far away, and yet so close.

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