“Detroit Red” by Will Power. Directed by
Lee Sunday Evans. Presented by Arts Emerson, Emerson Paramount Center, 559
Washington Street, Boston, through February 16.
A tense, noir-ish film clip of a man holding a gun in a downtown Boston jewelry store is superimposed across the stage. “It takes point two seconds for a gun to respond to your finger’s light touch”, begins the twenty-year old Malcom Little, aka Detroit Red, at the top of the world premiere of “Detroit Red”, which covers the years the young Malcolm X lived in Boston. His early life was troubled – a murdered father, a mother who suffered a nervous breakdown, an older sister with health complications – and his struggle to find his place in the world is marred by his treatment at the hands of white people.
Ricardo Pitts-Wiley, Joe Wilson Jr. and Omar Robinson in Trinity Rep’s ‘Radio Golf’ (L to R) Photos by Mark Turek
Reviewed by
Tony Annicone
Trinity Repertory Company takes us to Pittsburgh, PA with their current show, “Radio Golf” which is the last of August Wilson’s 10 play cycle of African-American life in the 20th Century. Set in 1997, the play starts with Harmond Wilks announcing his run for Mayor of Pittsburgh. Wilks is also the driving force behind the redevelopment business, Bedford Hills Redevelopment, which plans to use Federal money to clean up the “blight” in this neighborhood. His business partner is Roosevelt Hicks, a banker. Hicks listens to a white businessman who influences him to invest in a radio station and wants him to gain control of the BHR. Hicks is also addicted to golfing, and runs golf camps for children. Wilks wife, Mame is extremely interested in becoming the First Lady of Pittsburgh and supports him heartily in his run for the Mayor while organizing his PR and various appearances.
The divisiveness that has defined American politics since 2016 (and hasn’t let up in 2020) has left me (and others) feeling anxious, depleted, fearful and hopeless. Theater has provided welcome (albeit temporary) respites from a pounding media headache as well as the longer-acting benefits of keeping empathy and understanding in our narratives and creativity and human connection in our lives. I was particularly grateful for last year’s abundance of productions with music and for the range of musical styles – 90s R&B, 60s psychedelic surf rock, gospel, classic show tunes – and for the musicians (in the orchestra pit or on stage) playing live, and for music’s healing qualities. And watching an ensemble erupt into dance – whether Fosse or gumboot, ballet, Asian-influenced or 21 pairs of tapping feet – can make my mood lighter and gray moments brighter for days.
Cast of Nora Theatre’s ‘Vanity Fair; at Central Square Theatre
By Julie-Anne Whitney
Vanity Fair (an im-morality play) – Written by Kate Hamill, adapted from William Makepeace Thackeray’s novel; direction and scenic design by David R. Gammons; lighting design by Jeff Adelberg; sound design by David Wilson; costume design by Leslie Held; properties coordinated by Ciara McAloon; dramaturgy by Hilary Rappaport; stage managed by Elizabeth Yyvette Ramirez. Produced by Underground Railway Theater through February 23, 2020 at Central Square Theater in Cambridge, MA.
William Makepeace Thackeray’s Vanity Fairwas first published in 1847 as a 19-volume serial novel released in monthly installments for Punch, a British magazine known for its satirical content. The 800-page work was published in a single volume in 1848 with the subtitle A Novel Without A Hero. Arguably Thackeray’s most successful and enduring work, Vanity Fair has been adapted into radio broadcasts, silent and sound films, television series, and plays.
Michael Underhill as King John in Praxis Stage’s ‘King John’
Review by James
Wilkinson
‘King John’ – Written
by William Shakespeare. Directed by Kimberly Gaughan. Assistant Director: Elena
Toppo. Lighting: Erik Bailey. Sound/Music Design: Kimberly Gaughan and Daniel
Boudreau. Presented by Praxis Stage at
the Calderwood Pavilion at the Boston Center for the Arts January 30-February
16, 2020.
You’re not going to catch me arguing everything that ever fell out of Shakespeare’s head reeks of brilliance. The man may have hit unparalleled levels of artistic genius, but every artist has an off day. Trust me, Shakespeare had several. I’m always confused when I see notices for productions of The Comedy of Errors because its existence means at least two people got together in a room and said, “This is going to be good.” (I promise you, it won’t) There’s a flip side to that coin, though, underrated plays that don’t see nearly as many productions as their more notable counterparts. (There’ll always be a special place in my heart for the outright lunacy that is Titus Andronicus.) Praxis Stage’s new production makes the argument that King John belongs in that latter category and it’s damn strong one at that. It’s not a perfect production, but I’m going to go ahead and dump most of the flaws it has on the shoulders of Shakespeare. In any case, the positives with Praxis’ production vastly outweigh the negatives. There’s a hipness to it, an inner groove that you succumb to. It slinks right up and before you can say a word, lights your cigarette then vanishes. The move is so effortlessly cool that it’s only later you realize you probably shouldn’t be smoking.
“Gloria: A Life” – Written by Emily Mann. Directed
by Diane Paulus. Presented by American Repertory Theater, Loeb Drama Center, 64
Brattle Street, Cambridge, through March 1
“Social justice movements start with people siting in a circle,” Gloria Steinem (Patricia Kalember) informs the audience sitting in the round at American Repertory Theater at the beginning of Gloria: A Life. A shy woman who wanted to become a political journalist, Steinem became an unlikely spokesperson of the women’s movement. For those of us who grew up in the 60s and 70s, Steinem was our touchstone, the person who, unflappable and balanced, represented all that we were becoming. Her book, “Outrageous Acts and Everyday Rebellions” was de rigeur feminist reading in the 80s. Yet, as is unfolded during the 100 minutes of Gloria: A Life, she was supported and pushed by many insistent and persistent female voices, including ours.
