148 stories by "Robert Israel"
SpeakEasy Stage’s musically rich production grips with its performances, even as the drama struggles to fully deepen its tale of a crisis at sea.
"Achieving some sort of balance is key; to capture the heart and soul of who we are, and to present that on our stages, so that we continually challenge audiences and surprise ourselves."
Joshua Harmon's play offers numerous instances of familial turbulence, moments of rhapsodic relief and -- to avoid spoilers -- revelations of how guilt and hostility fuse to create irreparab…
If there is power in being invited, for the space of 80 minutes, to suspend our fear of where things are going, this show is a place where we can feel safe to do just that.
If John Lahr could learn, even in his eighties, to cut back on his own self-adoration and stop being so damned starstruck, the razzle in his profiles would dazzle all the more.
"Kim's Convenience" offers a genial comic glimpse of an immigrant family's struggle for dignity and an economic foothold.
The biographer puts far too much emphasis on Sam Shepard's louche life, neglecting to provide much analysis about the value of his stage work, particularly on whether it will endure.
Shakespeare's "Macbeth" serves as a springboard for a memorable new vision by these inventive, multimedia theater artists.
A generous serving of what theater critic John Lahr calls playwright John Guare's "funhouse-mirror reflection of American life's caprice and chaos in the twentieth and twenty-first centur…
By Robert Israel Sardines (a comedy about death), a one-act, one-man show written and performed by Chris Grace. Directed by Eric Michaud. At the Michael Maso Studio, Huntington Theatre, 264 …
Playwright Eboni Booth won last year's Pulitzer Prize for Drama for this script, and it is a heartwarming, well-constructed, one-act.
Interview with David Kaplan, theater director
The emphasis of the B&P troupe has become increasingly apocalyptic: the struggle we are engaged in is for nothing less than the preservation of our planet, and for the preservation of ou…
Despite all the Boston Lyric Opera pageantry and talent, "Carousel"'s trip to the 21st century turns out to be bumpy.
The Huntington Theatre Company's production of "Don't Eat the Mangos"Â commands attention with its blend of entertainment and enlightenment.
The sprawling cast -- 30-plus players -- under Michael Arden's direction performs with verve; they deliver outstanding performances and have excellent singing chops.
At its best, this script offers an opportunity for audiences to cast a backward glance at the first stirrings of dramatist Lynn Nottage's prolific canon.
Because this "play" relies on audience participation, Vinny DePonto selects inevitably befuddled men and women from the audience on which to demonstrate his mental prowess.
This is a well-honed, mostly successful script about the difficulties of making human connections -- a drama about seizing the day.
The script is an experiment, a (sometimes) witty lecture on language. But it doesn't work dramatically.
Is it possible for an outstanding actress to achieve similar heights as a playwright? The answer is yes, but with reservations.
"I believe folks coming to the theater will have a great time, they'll learn about the Negro leagues and about a phenomenal woman."
In terms of the joy that theater can provide, this Speakeasy Stage production sets the bar high.
Dramatist Lloyd Suh takes us on an inner journey by weaving silences into his script that encourage his characters (and us) to reflect and pause.
The "new" version of the Blue Man Group is all mayhem, all the time.
