Month: October 2004

  • Judith Guest: Ordinary Person

    Renowned author Judith Guest talks about “the terror of chance,” taking what you want, and falling in love with your characters. I can vividly recall my first reading of Judith Guest’s Ordinary People twenty years ago, in the bleak midwinter of my sophomore year of high school. When the book’s main character—the mortally depressed teenager,…

  • Zenon Dance Company’s Fall Concert

    Zenon Dance Company serves up another feast of new choreography that, as always, is precisely executed by this superior troupe. This year’s fall concert features a sampling of new work by two of our local favorites as well one New York import. Local choreographer Wynn Fricke—whose poetic, individualistic and often fantastical work was recently performed…

  • The Miser

    If you saw Jeune Lune’s Tartuffe a few years back, you won’t want to miss this second helping of farce à la Molière. The Miser was market-tested in Boston earlier this year, where Jeune Lune co-created the production alongside Harvard’s American Repertory Theatre. Now Jeune Lune is returning the Bostonians’ hospitality by inviting them to…

  • Permanent Collection

    Mixed Blood Theatre is tackling another heady subject; this time it’s the space allotted to African and African-American artists by the whitewashed institution of fine art museums. In Permanent Collection, a new-on-the-job African-American museum director squares off with a white curator concerning the space made available to nonwhite artists. This new play by Philly playwright…

  • Under Milk Wood

    Close your eyes and listen to the Jungle Theater’s reprise of Dylan Thomas’s dreamlike Under Milk Wood, which it’s staging for a fifth time to stretch through this year’s holiday season. While there’s little to see in this radio play, there’s plenty to hear—a beautiful, lyrical ramble of poetry, all spoken during a day in…

  • Madame Butterfly

    The Minnesota Opera vows to pump up the authentic Japanese flavor of Madame Butterfly this time around. Productions of Puccini’s masterpiece about a geisha who gets crossed by an American sailor rely too often on caricatures of Japanese culture—especially the geishas in their campy kimonos and sets festooned with rice paper. Up to now, the…