A theater troupe's two productions of "Twelfth Night" shows how Shakespeare's words can inspire different interpretations and alternate meanings.
"Matilda" should delights fans of the crowd-pleasing material, though its pieces don't always fit together, says critic Jeremy D. Goodwin.
Some $1.75 million in grants to create new work, affordable housing strategies and increased support for public art are included in arts initiatives announced by Mayor Marty Walsh.
Two musicals -- a classic ("Carousel" at Reagle Music Theatre) and a world premiere ("Lobster Girl" at Stoneham Theatre) -- aim for big emotions in different ways, says critic Jeremy...
The Latino Theater Company's "Premeditation" at ArtsEmerson offers hijinks with a film noir tinge.
Women face an uphill battle when aspiring to leadership positions in theater, a reality that's reflected in the Boston scene. But there are signs this could be changing.
"Blackberry Winter" at New Rep is a sensitively layered production with a standout performance by Adrianne Krstansky, says Jeremy D. Goodwin.
Five broad goals announced Monday night set the stage for the June unveiling of a 10-year master plan that will encompassing the spectrum of arts and culture in Boston.
A gripping trio of fiercely enigmatic plays by Samuel Beckett, brought to the Paramount by ArtsEmerson for a handful of performances, asks a lot but gives even more.
SpeakEasy Stage Company's "Bootycandy" leaves little room for subtlety in its depiction of growing up black and gay in America, says Jeremy D. Goodwin.
An expert team evokes a provocative, pleasing "How I Learned What I Learned" at Huntington Theatre Company, says Jeremy D. Goodwin.
"Bootycandy" playwright Robert O’Hara reflects on the inspirations behind his provocative play, soon to be onstage at SpeakEasy Stage Company.
An expert take on Chekhov's "Three Sisters" arrives from Russia with all of its power intact, says Jeremy D. Goodwin.
An economically conceived production of "Richard II" by Actors' Shakespeare Project may not win over the unconverted, but it's a story worth telling, says Jeremy D. Goodwin.
Kid Koala swirls together live music, film and puppetry in "Nufonia Must Fall Live," the story of a lonely robot who finds love.
The Boston Symphony Orchestra marks the 400th anniversary of Shakespeare's death with a host of events and performances inspired by The Bard.
The setting is all-American, but British theater god Mark Rylance is the chief attraction at the A.R.T. in the Minnesota-set "Nice Fish," writes critic Jeremy D. Goodwin.
An inventive "Twelfth Night" at ArtsEmerson surges forward with energy but leaves The Bard behind, says Jeremy D. Goodwin.
"Buyer & Cellar" breezes by like a dinner-party anecdote, but has something to say about fame, says Jeremy D. Goodwin.
The form of the insistently questioning "Chopin Without Piano" is as provocative as its content, says Jeremy D. Goodwin.