This week on No Borders No Race King Baby Duck reviews the new play All The Way, and tells of what happened when he met Bryan Cranston afterwards. Good news is sprung from two Kickstarters, and one indiegogo fundraiser that
Ah yes, Shakespeare. You've got to love the aspect of a updated/modern version of one of the classics of a Roman general who caused so much pain on people ending up becoming a Greek tragedy in the end. No Hollywood happy endings in Coriolanus, but I can tell you that Ralph Fiennes did a great job both as director and actor.
One day of a thousand memories, indeed! I can't believe I haven't gone sooner to this. Thanks to my awesome girlfriend we went to King Richard's Faire with a group of friends down in Carver, Massachusetts. Sadly I didn't have any real attire to wear to this, but I think I would've worn a kilt to show of my Irish, Scottish, and English (Welsh) heritage.
Yasmina Reza has made it a career of writing plays that focus on friends and/or couples at a breaking point of their lives, whether it is caused by a white-on-white painting (Art) or a dinner gone downhill (Life X 3). In God of Carnage, currently being performed at Boston's BU Theater by the Huntington Theatre Company, Reza takes two couples who meet for the first time and pushes them to the brink of destruction. You can just cut the hilarious tension with a steak knife.
It's one thing to go into a theatrical experience and have its performers give what the audience wants. It is a far worse idea to bring in one of the biggest A-list actors out there, and underuse his talents for the vast majority of an expensively-priced production. Such is the case of The Infernal Comedy, which made its American debut at Boston's Majestic Theater.
It's a risk adapting a classic Greek tragedy into a modern-day society; even more so if you transform it into a rock opera. Yet here we are with Prometheus Bound, the latest production from the American Repertory Theater that takes (presumably) Aeschylus's first part of the Prometheus Trilogy, translated by Steven Sater (Spring Awakening) and adding lyrics that play on to the tragedy as if it happened today in some ways. Insert a rocking musical backing composed by none other than Serj Tankian (System of a Down), and what do you get? Quite possibly the first great new musical of the decade.