It is said that “good things come in small packages.” That can also be applied to this fabulous, laugh out loud, production being performed by the award-winning Hub Theatre Company of Boston in the approximately150 seat, intimate as well as diminutive, Plaza Theatre. It is part of the Boston Center for the Arts at 539 Tremont Street in Boston’s South End. Despite its size, the production provides some of the largest laughs in the city. “Tartuffe” is a timeless French comedy by Jean Baptiste Molière. Actually written in 1664, and in in French alexandrines (12-syllable lines of rhyming couplets), it has been performed in French and English for centuries, throughout the globe. The translation by Pulitzer Prize-winning poet Richard Wilbur maintains the satirically funny, rhyming format. Directed by Elliot Norton Award winning Bryn Boice, the cleverly staged comedic tale surrounds a wealthy member of the upper-class named Orgon.

He becomes blindly gullible by the charismatic con man, Tartuffe. The scoundrel, disguises himself as a pious man of God who depends on the kindness of others because he has given all his worldly possessions to others. Much to the painful frustration of his family and especially the perpetually outspoken maid, Orgon and even his mother, has bought into Tartuffe’s righteous rhetoric. Filled with comic flair, Tartuffe systematically manipulates the mindless Orgon.

When he attempts to seduce Orgon’s wife Mariane, he is caught by Orgon’s son, Damis. But the cluelessly blind Orgon dismisses his son’s claim and bans him from the house. He then gives his daughter Elmire, now hysterically traumatized to marry Tartuffe along with his entire estate to Tartuffe. The story is rife with relatable hyper-religious hypocrisy along with the often naïve nature of many humans even today. Fortunately, Doreen, the maid is not so easily fooled. Even Orgon’s children, daughter Elmire and son Damis, along with his wife Mariane ,vow to reveal his ruse and beat Tartuffe at his own game. But will anyone’s efforts defeat the sanctimonious scoundrel Tartuffe who now owns Orgon’s house and gives the family notice to leave or go to prison. So much to mend, if possible, before the final curtain.

Outstanding cast member in the role of Orgon is the multiple Eliot Norton and IRNE award nominee as well as IRNE Award recipient for Best Supporting Actor, Brooks Reeves. He provides us with a brilliantly, mindless and easily manipulated aristocrat. Kudo’s to Lauren Elias for one of the most outrageously funny performances of the outspoken maid Doreen, savior of the family and a proverbial and unbeatable thorn in Orgon’s world. Jeremy Beazlie made for a perfectly cunning Tartuffe, capturing the role with a never ending supply of laughably droll facial expressions, especially when being violently wrestled by Orgon’s son, played by Patrick Vincent Curran. Laura Rocklyn, as Elmire. was the perfectly demure wife of Orgon, despite being sexually harassed by Tartuffe.

Lily Ayotte (Marianne) and Robert Thorpe II (Valere)  Lily Ayotte in the role of Marianne, Orgon’s daughter, mastered some of the most delightfully funny expressions through her trials with her father insisting on  giving her to Tartuffe in marriage.. Brendan O’Neill as Orgon’s brother Cleante, provided an almost Shakespearean timber to his performance while trying to reason, unsuccessfully with Orgon. June Kfoury as Orgon’s high minded mother, Madame Pernelle, along with Robert Thorpe II (Valere), Steve Auger (Laurent/ M. Loyle) and Kayla Sessoms (Flipote/Officer) round out the cast that all contained perfect comedic timing. The period costumes and make up by Marissa Wolf set the theme while the very clever Scenic Design by Justin Lahue allowed for perfect moments of spying, eavesdropping, running in, out and even for chaotic round about during many events. The lighting design by Narissa Kelliher ideally focused the action on the demure staging space. Experiencing a production so closely, truthfully and magically intensifies the actions, both physically and facially as well as keeps every fabulous word perfectly attainable. Tartuffe is recommended for ages 13 and up due to some themes, romance, and physical comedy. This side-splitting satire as well as hysterically witty play that has been lifted from the Renaissances is packed with witty wordplay, laughable lies, and the pretense of piety. Hub Theatre is a Non Profit and all tickets are Pay What You Can. Tickets for this production that will keep audiences on their toes and on the edge of their seats may be obtained at www.hubtheatreboston.org

THROUGH NOV. 24: HOW NOT TO SAVE THE WORLD WITH MR. BEZOS

DEC. 12 – JAN. 4: DIARY OF A TAP DANCER

The American Repertory Theatre has proudly commissioned this World Premiere at their Loeb Drama Center theatre at 64 Brattle Street in Cambridge and again brings this award-wining Chasing Magic, trailblazing tap dancer and choreographer as well as Drama Desk nominee for Choreography for Broadway’s Funny Girl, Ayodele Casel . She returns to the A.R.T. with this all new production that dance, narrative, and song to share the story of her own life and career from her roots in The Bronx and Puerto Rico to her current stage triumphs. She also is bringing unrequited honor due the extraordinary women tap dancers who came before her as she shares their histories and legacies. The production is directed by Casel’s frequent collaborator and long time friend, Torya Beard, who states, “Ayodele Casel has spent her tap-dancing career not just chasing magic but creating it and sharing it.” This world-premiere production comes with support by Leslie and Howard Appleby. The holiday season is a perfect time to spread joy through the liberating spirit of tap while all the more so through the exceptional choreography and performance brought to the stage by Ayodele Casel as she unleashes the power of reclaiming language, culture, and one’s own identity.

          She is joined by her cast that each boast major theatrical credit. These includes Naomi Funaki, Afra Hines, Quynn L. Johnson, Funmi Sofola, Liberty Styles, Annaliese Wilbur, and Ki’Leigh Williams. “I was called to write Diary of a Tap Dancer to amplify our voices, family stories, and artistic lineages and to reflect the multitude of languages that we use to uplift and honor our cultural histories,” says Casel. The production staff includes, Erin McCoy is the production stage manager. Eloia Peterson is the assistant stage manager. Casting is by Jason Thinger, CSA. Casel (Writer and Choreographer) and Beard (Director) are joined on the creative team by Tony and Drama Desk Award winner and Olivier Award nominee Susan Hilferty (Design Dramaturg and Artistic Advisor), Tony and Drama Desk Award-nominated Tatiana Kahvegian (Scenic Design), Camilla Dely (Costume Design), Tony Award-nominated Brandon Stirling Baker (Lighting Design), Sharath Patel (Sound Design), Lucille Lortel and Drama Desk Award nominee Katherine Freer (Projection Designer), Carlos Cippelletti (Co-Composer, Pianist), Ethan Pakchar (Co-Composer), Earon Nealey (Hair, Wig, and Makeup Designer) and Jesse Alick (Dramaturg). Yasmine Lee is the associate director, Matthew Buttrey is the associate scenic designer, Amanda Roberge is the associate costume designer, Jessica Creager is the associate lighting designer, and Joshua Nguyen is the associate sound designer. Tickets for this memorably stunning production may be obtained at www.AmericanRepertoryTheater.org/DiaryofaTapDancer

DEC. 14 – 15: FUNNY UNCLE CABARET – A DANCE-AND-MUSIC ODE TO “CHOSEN” FAMILIES

Cambridge Artistic Director Peter DiMuro and his Public Displays of Motion brings to the Dance Complex at 536 Massachusetts Avenue in Cambridge this revival of his alternative-family-inspired holiday show. It is filled with stories and dances about adoptive, queer and other families that don’t fit the Currier-and-Ives scenario of Family Christmas. In the first half of this two-part performance, DiMuro highlights traditions of “chosen families” as opposed to the ones we’re born into. By mining stories from his life and those of Boston’s drag and cabaret communities he shares their heartfelt stories. Part two of the evening rolls into the Holiday Party zone with Open Mic/Open Floor inviting audiences to share songs and dances. In a sing-along section, queer versions of holiday classics encourage more belting than Santa’s oversized pants. For more information and to obtain tickets, click here at www.dancecomplex.org

Lyric Stage brings to their theatre at 140 Clarendon St. in Boston Michael Frayn’s side-splitting comedy. The credit for the show’s utter circus atmosphere of missed entrances and exits along with so many mucked-up lines goes to the marvelously talented cast of nine comedic actors who artfully trip, fall, and stumble through this production…quite on purpous. They, in character, are definitely trying their best, in this play within a play, to create a premiere performance in a production titled “Nothing On”. The complex Scenic Design by Eric D. Diaz** boast perpertually slamming doors and disintergrating sets. The Costume Designs by Seth Bodie** allows for multiple and equally hylarious wardrobe malfunctions. And Emily Allison, the Props Artisan makes sure that the sardines will fly, along with other unpredictable and insane happenings. All the while,  the spotlight on the chaos is provided by the Lighting Design bySeifAllah Salotto-Cristobal**

Directed by the incomparable Ilyse Robbins°, the production is doomed from the start when the increasingly  exasperated director finds that he is managing a company which includes a middle-aged ‘has-been’, an inexperienced and completely clueless bombshell, an overly-sensitive stage manager, and a half-deaf actor to mention a few. They’re all on their way to an opening night that will leave everything in complete shambles both on and off the stage. All out chaos ensues as this group literally and figuratively stumbles, trips and falls over jealousies, inflated egos, and even some unbridled tantrums.

with a very clever Scenic Design by Erik Diaz**, the brilliant cast, many members of Actors Equity, demonstrate a perfect rhythm of comedic timing throughout the non stop action. 

Cast: Photo by Mark S. Howard

As this cuckoo theatrical troupe barrels along it becomes a proverbial fight to get to the finish and the final curtain call. This production includes the following performers: Amy Barker* as Dotty Otley, Grace Experience* as Brooke Ashton, Dan Garcia as Tim Allgood, Eliza Fichter as Poppy Norton-Taylor, Michael Jennings Mahoney* as Frederick Fellows, Joseph Marrella* as Garry Lejeune, Chip Phillips* as Selsdon Mowbray, Samantha Richert* as Belinda Blair, and Lewis D. Wheeler* as Lloyd Dallas. The Props Artisan is Emily Allinson and Costume Design is by Seth Bodie**. The Lighting Design is by SeifAllah Salotto-Cristobal** and the Sound Design is enriched by Andrew Duncan Will**. This production makes a perfect holiday outing for friends and family as ot  production makes a perfect holiday outing for friends and family as it provides non stop laughter. Tickets for this explosive comedy may be purchased here at https://www.lyricstage.com/show-item/noises-off/

 

JAN. 10 – FEB. 2: CRUMBS FROM THE TABLE OF JOY

Boston’s Lyric Stage at 140 Clarendon St brings this poignant and complex tale by the Pulitzer-Prize winning playwright, Lynn Nottage. Set in the 1950’s post World War era when things were becoming increasingly racially challenged. This, the first of Nottage’s dozen plays, is a stunning work that surrounds a Black American family consisting of two sisters, 17 year old Ernestine and 15 year old Ermina and their recently widowed father Godfrey Crump. After the death of his wife, the grief stricken father finds solace in the teachings of Father Divine, leader of the Peace Mission Movement and moves his family from Florida to Brooklyn NY where Father Divine was residing. Instead he finds that Father Divine, who claims he is God, has moved to Philadelphia. The girls, still struggling with the change, having come from a highly segregated South, are working through the veiled rules of integration in the North. They also find themselves under their father’s overbearing hyper religiosity as he has become increasingly obsessed with Father Divine’s teachings while in turn, imposing strict moral tenants on his daughters. After sending multiple letters to Father Divine, Godfrey receives a response. Father Divine has given them all new names. Ernestine should now be called Darling Angel, Ermina should be known as Devout Mary and Godfrey will now be Godfrey Goodness. Of course that attention comes with an appeal for cash donations. Almost to the point of obsession, Godfrey’s overtly restrictive beliefs drive his girls initially to find comfort and escape in Hollywood films, daydreams, and lots of cookies. Meanwhile, the girls Aunt Lily arrives bringing with her an entirely different bag full of moral attributes as well as some strong rebellious, Communist based political philosophies. When Godfrey begins to feel the pull of seduction from Lily, he flees to the Peace Mission and returns several days later, married to a white, German woman named Gerte. That action totally disrupts the status of everyone’s world. The story is narrated by Ernestine, slightly reminiscent of the style of Our Town. Tickets for this stunning, engaging and thought provoking production may be obtained at www.lyricstage.com

JAN. 10 – FEB. 8: AIN’T NO MO’

Speakeasy Stage along with the Front Porch Arts Collective have joined their talents with this New England Premiere on stage at the Roberts Studio Theatre located at the Boston Center for the Arts’ Calderwood Pavilion, 527 Tremont Street in Boston’s South End. Written by Jordan E. Cooper, this truly clever work garnered a 2023 Tony Nomination for Best Play. Directed by Dawn M. Simmons, it is a satirical tale surrounding a mass exodus of every black person in American. The United States has offered a one way ticket to any black person who wishes to go to Africa. Close to the opening of the play, Miss Peaches, the drag queen flight attendant tasked with welcoming the entire Black population of the United States to Gate 1619 declares, “The powers that be have reassured me there’s room for everyone”. It is filled with blisteringly funny satire as one sharp comic vignettes about Black American life, history, and identity rapidly unfolds in multiple vignettes. Black people have long been cruelly taunted to go back to Africa. Cooper has artfully drawn a plethora of dark comedy from the painful truths surrounding infinite decades of racism. He has then fearlessly pitched it back at audiences wrapped in hysterically funny sarcasm that dope slaps us with some painfully sorry realities. Is it a choice to leave? In deference to the bible, anyone who looks back will be magically transmogrified into a white man. .A six member cast takes on multiple roles throughout this production. Tickets may be obtained at www.speakesystage.com

JAN. 31 – FEB. 9: LIFE & TIMES OF MICHAEL K

This Baxter Theatre Centre and Düsseldorfer Schauspielhaus Production is brought from South Africa by ArtsEmerson. The Robert J. Orchard Stage Emerson Paramount Center, Washington St.in Boston showcases this magical adaption of the Booker Prize-winning novel Life & Times of Michael K, written by J.M Coetzee. Directed by Lara Foot In collaboration with Handspring Puppet Company, the story is a poignantly stunning piece that artfully utilizes intricately detailed marionettes interspersed with a cast who become part of the story or who beautifully manipulate the life sized puppets bringing them to life before audience’s eyes. Michael K is barely surviving in the midst of intense political conflict. His ill and aging mother, Anna, petitions Michael to take her from their war-torn hometown to the rural South African countryside where she spent her youth. At first, Michael simply accepts this as a filial responsibility and just another burden to satisfy his mother’s wants and needs. But, he soon discovers that he is being spiritually transformed by the restoring nature of this trek. He becomes increasingly engaged with the natural world around him. Meanwhile, Anna, despite her initial grave frailty, also demonstrates unwavering energy despite the dangerous nature of their plight. She becomes imbued with life and a sense of optimism as the journey progresses, making it all the more engaging for the audience. Tickets for this heartfelt, magically story of courage and fortitude may be obtained at www.artsemerson.org