Huntington’s ‘Quixote Nuevo’ an Uneven Updating of Cervantes Classic

(Emilio Delgado as Don Quixote in the Huntington Theatre Company and Alley Theatre production of ‘Quixote Nuevo’ . Photo Credit: T Charles Erickson)

By Mike Hoban

Written by Octavio Solis, Directed by KJ Sanchez; Scenic Design, Takeshi Kata; Costume Design, Rachel Anne Healy; Lighting Design, Brian J. Lilienthal; Composer & Sound Design, David R Molina; Co-Composer, Eduardo Robledo; Music Director, Jesse Sanchez. Presented by the Huntington Theatre Company, 264 Huntington Avenue, Boston through December 8

Quixote Nuevo, playwright Octavio Solis’ clever re-imagining of the Cervantes’ classic Don Quixote, now being staged at the Huntington Theatre, might well be described as giving a contemporary twist to a traditional “estofado” (stew). Taking many of the main ingredients from the original, Solis adds dashes of subject matter that give the story a more modern flavor, beefs up the comedy quotient, and in the process produces a palatable new offering, but one that may not be to every theatergoer’s taste. Equal parts comedy, love story, and social commentary, Quixote Nuevo is often wildly imaginative, but the items in the new recipe may not complement each other well enough to conjure up a classic new dish.

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Trinity Rep’s ‘A Christmas Carol’ More Theatrics Than Theater

Ghost of Christmas Future (Taavon Gamble) visits Scrooge (Jude Sandy) in Trinity Rep’s ‘A christmas Carol. Photos by Mark Turek

Reviewed by Shelley A. Sackett

‘A Christmas Carol’ – by Charles Dickens. Original Music by Richard Cumming; Directed by Kate Bergstrom; Music Direction by Michael Rice; Choreography by Taavon Gamble; Set Design by Patrick Lynch; Costume Design by Olivera Gajic; Lighting Design by Barbara Samuels; Sound Design by Broken Chord. Presented by Trinity Repertory Company, 201 Washington St., Providence through December 29.

Trinity Repertory Company’s 2019 musical version of A Christmas Carol starts out promisingly. Produced in the Elizabeth and Malcolm Chace Theater, Director Kate Bergstrom makes use of that venue’s intimate theater-in-the-round configuration by staging pockets of singing performers above every seat section. The pageantry of a live orchestra, quality-voiced actors in Dickensian-era costumes, and an excellent sound system is enough to enrapture a toe-tapping audience. Unfortunately, uneven performances and an overreliance on gimmicky, ostentatious staging trickery will soon burst that magical bubble.

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Theatre Uncorked’s “Ruthless” a Wonderfully Demented Sendup of Theatre

Rene Bergeron (center) and cast of Theatre Uncorked’s “Ruthless: The Musical” – Photo Credits: Kai Chao

By Mike Hoban

‘Ruthless! The Musical’Book and Lyrics by Joel Paley. Music by Marvin Laird; Directed by Russell R. Greene; Musical Direction, Gina Naggar; Choreographer, Kai Chao; Costume Design, Anna Silva/Shana Dirik; Set Design/Dressing, Shana Dirik; Lighting Design, Michael Clark Wonson; Sound Design, CRT. Presented by Theater UnCorkedat theCalderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street, Boston, through November 24

For those of us who find the humor in most musical comedies to be a little too tame for our deviant tastes, Ruthless! The Musical is the perfect antidote. This darkly comic sendup of Broadway musicals delivers rapid-fire laughs from material that one would expect more from a pre-Hairspray John Waters production than a musical comedy. Produced by Theatre Uncorked in a four-day run last weekend at the BCA, the all-female cast of Ruthless hits its comic marks with such frequency that the musical numbers (a handful of which are actually quite good, musically speaking) almost seem to serve solely as vehicles for Joel Paley’s wickedly acerbic lyrics.

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YOU GOT OLDER (Wilbury Theatre Group)

(Cast of Wilbury Group’s “You Got Older”)

by Tony Annicone

The New England Premiere of “You Got Older”, winner of the 2015 Obie Award for playwriting is the second Clare Barron play presented at the Wilbury Theatre Group. Told in a series of vignettes, Barron blends reality with the fantasies of the main character, Mae, who has returned home to care for her father who has just been diagnosed with cancer. Mae is recovering from a broken relationship, the loss of her job, a strange rash that won’t go away, and a recurring fantasy about a sexy blond Cowboy. Mae has two sisters and a brother who come visit their dad in the hospital. There’s also Mac, a male friend of her sister, Hannah. It seem like she has much in common with Mac, but in times of stress or anxiousness she escapes into a fantasy world of the handsome cowboy who takes her mind off the troubles that she is currently facing about the seriousness of her father’s illness. Mae and her siblings discuss trivial matters with each other in front of their sick father, and even some sex talk that is hilarious. The scenes with Mac and the cowboy bring some levity to the proceedings. Director Wendy Overly molds her seven member cast into these characters marvelously and makes us confront a dramatic part of our lives when dealing with a parent’s final illness. She brings out the best in each of her cast members.

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ArtsEmerson’s One-of-A-Kind ‘An Iliad’ Is Not to Be Missed

Denis O’Hare in ArtsEmerson’s ‘An Iliad’ – Photo by Joan Marcus

By Shelley A. Sackett

‘An Iliad’ – Written by Lisa Peterson and Denis O’Hare; Directed by Lisa Peterson; Scenic Design by Rachel Hauck; Costume Design by Marina Draghici; Lighting Design by Scott Zeilinski; Composer/Sound Design by Mark Bennett; Produced by Arts Emerson and Homer’s Coat in association with Octopus Theatricals at Emerson Paramount Center through November 24.

“An Iliad,” the brilliant play by Lisa Peterson and Denis O’Hare in a lamentably short run at Emerson Paramount Center, is one phenomenal piece of theater. In a mere 100 minutes, on a simple stage with no props or costume changes, the virtuoso Denis O’Hare (with the help of bassist Eleonore Oppenheim) magically creates the story behind Homer’s epic poem about the tragic Trojan War. This is no ordinary dramatic experience. It is a magic carpet ride into the deepest power and charm that theater can offer. No wonder the painted muses above the magnificently renovated stage are all smiles. They know this audience is in for a one-of-a kind experience that will resonate long after their thunderous standing ovation finally fades.

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Boston Playwrights’ Theatre Introduces You to ‘the smuggler’

( Billy Meleady in ‘the smuggler’ at Boston Playwrights’ Theatre – Photos by Stratton McCrady)

Review by James Wilkinson

‘the smuggler’Written and directed by Ronan Noone. Scenic Design: Adam Hawkins. Lighting Design: Amanda Fallon. Sound Design: Stephanie Lynn Yackovetsky. Costume Design: Emily Keebler. Properties Design: Cayenne Douglass. Dramaturg: Caity-Shea Violette. Presented by Boston Playwrights’ Theatre at 949 Commonwealth Ave., Boston through November 24

Boston Playwrights’ Theatre’s production of the smuggler comes at you from across the room with a mischievous wink, the kind that says “Don’t worry folks. I know it all looks dark and gloomy in here, but we’re going to have a good time.” You might be a little apprehensive when it makes a move on you from the other end of the bar, but after it cracks a few jokes and flashes that smile, down goes your guard. Having sensed an opening, the smuggler snags the next bar stool over while offering to buy you a drink and you think, “Well…what the hell?” I’m not sure the mischief the original wink promises ever quite materializes, but damned if I didn’t have that good time while slinging back a few in its company. The production is too damn smooth to turn down.

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Burbage Theatre’s ‘Hand to God’ a Thought-Provoking, Uproarious Comedy

Reviewed by Tony Annicone

Burbage Theatre Company’s second show of their ninth season is “Hand to God” by Robert Askins. It’s the Rhode Island premiere of a dark comedy that not only leaves you laughing but contains strong dramatic moments blended together splendidly by director Kate Kataja. The show also contains perfect and spectacular technical effects. Set in a Lutheran church basement in Texas, “Hand to God” centers on a shy boy, Jason, who lost his father six months ago, and his relationship to his mother, a teacher; the church’s pastor, and two other students, the girl next door and the bully. They are involved with a “puppet” ministry when Jason’s puppet takes on its own persona, a darker side of the boy who speaks some of the thoughts he is keeping bottled up inside him. Askins uses the name Tyrone (based on the Tyrone Family in “A Long Day’s Journey into Night”) for this evil puppet. The main point is the lack of communication between mother and son on the loss of his father which he blames on his mother overfeeding him. These feelings fester into huge misunderstandings between them which leads to things being hammered out after some very dark and troubling occurrences of violence. The brilliance of this five member cast pours out to the audience all night long which wins them many laughs and a spontaneous standing ovation at the close of the show.

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BLO’s ‘Fellow Travelers – An Opera For Today

Timothy Laughlin (played by Jesse Darden) and Hawkins Fuller (Jesse Blumberg) in Boston Lyric Opera’s production of “Fellow Travelers,” playing Nov. 13-17 at the Emerson Paramount Center

By Julie-Anne Whitney

‘Fellow Travellers’ – Opera by Gregory Spears; Libretto by Greg Pierce; Based on the 2007 novel “Fellow Travelers” by Thomas Mallon; Conducted by Emily Senturia; Directed by Peter Rothstein; Set Design by Sara Brown; Costume Design by Trevor Bowen; Lighting Design by Mary Shabatura; Surtitles by Greg Pierce; Sung in English with English surtitles; Produced by Boston Lyric Opera at the Emerson Paramount Center Robert J. Orchard Stage through November 17, 2019.

Gregory Spears’ opera Fellow Travelers chronicles the doomed love affair between two men, State Department employee Hawkins Fuller and writer/reporter Timothy Laughlin, set during the height of McCarthyism in 1953 Washington D.C. The story sheds light on Senator McCarthy’s ruthless hunt for “sexual deviants” working for the federal government, otherwise known as The Lavender Scare.

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The Creepy and Compelling Landscape of ‘The Moors’

by Michele Markarian

‘The Moors’ – Written by Jen Silverman. Directed by Joe Juknievich. Lighting Design by Luke Lewkowicz; Costume Design by Daisy Walker.Presented by Entropy Theatre at the Plaza Black Box Theatre at the BCA, 539 Tremont Street, Boston through November 17.

“We don’t even hear our emotions half the time. We’re just filled with the sound of things getting lost,’ says Mastiff (Ryan Lemay) alone on the moors, where all of the action of Jen Silverman’s play takes place. Mastiff shares a manor, with an environment as inhospitable as the landscape that it sits on, with three other people – sisters Agatha (Kris Kim) and Huldey (Kayleigh Kane), and their servant, Marjory (Robin Abrahams) who is sometimes called Mallory, depending on the room she’s serving in. A governess, Emilie (Debbie Aboaba) has arrived at the house, at the epistolary request of the sisters’ brother, Bramwell, in order to take care of a small child. Emilie has fallen in love with the sensitive and sweet Bramwell through his letters, which, it turns out, he didn’t write – she was catfished by Agatha. Emilie transfers her devotion to Agatha, who has Bramwell – she’s not so nice, apparently – kept near death in the attic. Agatha would like Bramwell to impregnate Emilie, so that they might have a child.

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Company One’s “Hype Man” Exceeds the Hype

(Kadahj Bennett, Michael Knowlton, and Rachel Cognata in Company One’s ‘Hype Man’ – Photo by Paul Fox)

by Mike Hoban

“HYPE MAN: A Break Beat Play” – Written by Idris Goodwin; Directed by Shawn LaCount; Music Direction by Kadahj Bennett; Sound Design by Lee Schuna; Lighting Design by Jen Rock; Costume Design by Cassandra Cacoq. Originally resented by Company One at the Boston Center for the Arts, Plaza Theatre, 539 Tremont Street, South End, Boston through February 24, 2018. Limited Return Engagement at Oberon, 2 Arrow St., Cambridge November 14-16, 2019 https://companyone.org/production/hype-man-limited-return-engagement/

You don’t have to be a fan of hip-hop to appreciate Company One’s illuminating production of Idris Goodwin’s HYPE MAN: A Break Beat Play, now receiving its world premiere at the Boston Center for Arts. Not only is it one of the best new plays in years, it’s one of the best plays of the 2017-2018 season, period. HYPE MAN takes the age-old dilemma that many artists face, namely, where to draw the line between maintaining artistic integrity and personal beliefs versus chasing fame and fortune, and further juices the story by injecting one of the most politically charged issues facing America today – the shooting of unarmed people of color by police officers.

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