This time of year, things are so beehive-hectic in these parts that it's easy to drive around on a single Saturday and see, say, The Visit at the Williamstown Theatre Festival and the compacted-into-one Henry IV Part I and IIat Shakespeare and Company.
What struck me most is that Mothers and Sons reminds us HIV/AIDS is not "then," it is "now." In fact, it may arguably be as much "now," as it has been for the last decade and more, its appearance has just changed.
We were good, dutiful visitors -- except when there were too many of us in his hospital room and the mood could become joyful, almost raucous. Zero to 60 in 10 seconds flat. AIDS soon put an end to that. The mood got somber again and then he was gone.
My friends are never very excited about new plays. What is The Realistic Joneses and why did celebrities want to be in it? Is Casa Valentina an atmospheric production where they treat us like we're in a resort?
Living from a place of fully loving every part of yourself, especially when confronted head-on with the haters, is not only the path to a deep spiritual awakening; it is exactly what Jesus faced on His own prophesied path.
Last week I went to see Terrence McNally's beautifully realized portrait of the "new normal" American family in his touching play Mothers and Sons. By the way, I went with my mother. And as I sat in my seat before the lights dimmed, my thoughts took me back over 30 years, to 1983.
I remember a time when the first thing anyone in the LGBT community did in the morning was read the obituaries to find out who we had lost the day before. Today, we go straight to the Styles Section to see who got hitched.
In busy spells -- which in the Broadway arena typically include the two weeks before Thanksgiving and the month before the various award deadlines in the spring -- it is not uncommon for critics and award nominators to find themselves at five or six a week. Eighteen in 16, though, is overdoing it.
At its heart, Golden Age, Terrence McNally's charming new play at the Manhattan Theater Club, is a passionate love story. Actually, it's several love stories, but what makes the play so appealing is the one between the playwright and the world of opera.
Will Bellini explaining he no longer writes because "I ran out of things to say" sate the on-lookers? How about the will-he-or-won't-he-do-it suspense of tenor Rubini's hitting that ground-breaking "Credeasi misera" high F?
Most creative talents have a professional bag of tricks they like to employ in the course of creating art. From alliteration to asymmetry, from pointilism to pizzicato, these gimmicks help startle an audience and add to an artist's personal style.
Crayton Robey's documentary Making 'The Boys' chronicles changes in both gay culture and its acceptance by mainstream America, reminding us that 40 years ago, gays and lesbians had fewer civil rights than black people or women.
I was intrigued by Symmetry Theatre's claim that fewer good roles are written for women, I found myself wondering if people might not be aware of the variety of plays that do indeed have meaty roles for female characters.