THE WORLD OF ART AND ENTERTAINMENT HAS OPENED UP! SEE CURRENT AS WELL AS UP AND COMING NEW OPTIONS AS CHRONOLOGICALLY DATED…PLUS…CONTACT THE THEATER WEBSITES LISTED BELOW FOR CONFIRMATION OF ANY OTHER CURRENT EVENTS
THE BOSTIX BOOTH IS BACK!
To celebrate their return, ArtsBoston is launching it 50% holiday season tickets online at www.bostix.org. Among the performances expected to be available for $25 (fees included) exclusively at BosTix Faneuil Hall are “The Nutcracker” (José Mateo Ballet Theatre), “Christmas with the Back Bay Ringers,” “A Midsummer Night’s Dream” (Sh!t-Faced Shakespeare) “Bring Your Own Bells” (Boston Gay Men’s Chorus), “Winter Wonderettes” (Greater Boston Stage Company), and “Crumbs from the Table of Joy” (Lyric Stage Company). More performances and organizations are expected to be added. The iconic landmark in Faneuil Hall was established 50 years ago but was shuttered during the 2020 Covid crisis. Now, this signature program from ArtsBoston, the nonprofit marketing and audience development organization that provides access to the performing arts through lower-cost tickets, has reopened. Bostix has unparalleled access to the best performances and tourist attractions in the city, providing exclusive ticket offers as well as pop-up performances, and interactive arts experiences. Available tickets throughout the season can be found at www.BosTix.org. For information about special offers throughout the the city, visit https://calendar.artsboston.org/categories/bostix-deals
THROUGH JAN. 19: LIBRARY LION
The Calderwood Pavilion at the Boston Center for the Arts on 527 Tremont St. in Boston’s South End hosts the Adam Theater’s production of tis delightful musical play. Written by Michelle Knudsen and adapted for theater gy playwright Eli Bijaoui. The music is composed by Yoni Rechter. Directed by Ran Bechor, the production is based on one of Time Magazine’ s 100 Best Children’s books, The Library Lion, that was written by Michelle Knudson. .In the library, there are books. But also very clear rules: no shouting, no running, no eating or drinking. But what happens when one day a lion enters the library? He doesn’t roar or rampage, and contrary to expectations, he peacefully joins storytelling hour.
Not everyone is okay with this, after all, he doesn’t abide by the rules. (A lion? In the library? – that’s completely out of order!) A real lion. Because there are rules in this cultural space, the librarian thinks it’s no place for wild animals. However, the library director quickly explains: ”If he does not break the rules – then leave him be.” The lion becomes part of the daily life in the library, helping the librarians and children, plus enjoys listening to ‘story time’. But, one day, the library director, while trying to reach a high book, stretches too far, falls, and breaks her arm.. The lion, who cannot speak, roars for help, but is misunderstood, and is forced to leave the library for breaking the rules. By the time his intentions are understood, it’s too late; the lion has disappeared. A team of people from the library, along with the children set out to search for the “Library Lion,” hoping to right the wrong done to him.
This is a wise and touching story about friendship, accepting the other, and how rules, which may seem restrictive, actually protect us from the arbitrary use of power in public spaces. It reveals that rules are important to follow, but not only that: That it is also very important, to dust off some of these rule books as well. Prepare for a theatrical experience that will roar its way into your heart. Don’t miss this enchanting adaptation, where stories come alive and where even the wildest of guests might just find a place to belong. This live musical version originally appeared at the Boston Public Library. This production features five actors, that include Robert Saoud*, Janis Hudson. Jayden Declet, Ken Crossman, and Channing Rion. There are 3 puppeteers, including Abigail Baird, Amy Liou, and Tatara Biwen Tang that are manning a puppet (the lovely lion) created by Jim Henson’s Creature Shop. The production is accompanied by 3 musicians. The show is suitable for ages 4 and above. Tickets for this heartwarming and magical tale may be purchased at https://www.bostontheatrescene.com/shows-and-events/library-lion/#performance-picker
THROUGH JAN. 19: EVERY BRILLIANT THING (CODA COSA MARAVILLO)
Chelsea Theatre Works, 189 Winnisimmet St. in Chelsea brings Duncan Macmillan’s poignant as well as hilariously funny play, one woman show surrounding depression and the lengths we go to for those we love. Directed by Danielle Fauteux Jacques, the story surrounds a seven year old whose mom is in the hospital. Dad says she’s ‘done something stupid. Her mpther had tried to commit suicide. To make her happy, this child decides to make a list of everything that is brilliant about the world.
Cristhian Mancinas-García, Parker Jennings (additional photos below), Photo: Danielle Fauteux Jacques Things that make life worth living. . 1. Ice cream, 2. Water fights, 3. Staying up past your bedtime and being allowed to watch TV, 4. The color yellow, 6. Rollercoasters, 7. People falling over Since its Edinburgh fringe debut 10 years ago this play has been performed in 63 countries in around 400 professional productions. Despite being about depression, it is charmingly impressive. -Actor Cristhian Mancinas-Garcí. stated, “This play is a brilliant (pun intended) exploration of a side of the human condition that people often avoid talking about, and shows us that there is hope even in the darkest hours. I’m excited to present a play to our Spanish speaking community that doesn’t dwell on the myriad specific issues we encounter as immigrants. Perhaps by sharing in a story that’s about just being human, we can find some unity in the divisive times we are living through.” This show is performed on alternating nights in both English and Spanish. Cristhian Mancinas-García (Elliot Norton Nominee for Teatro Chelsea’s 619 Hendricks) will be performing the show in both languages. Parker Jennings (Touching the Void, Suppliant Women, Lunch Bunch) will be bringing her own spin to the story for six English language performances. Filled with stories that Include late teen, young adult, adults, mature adults, and elderly characters, the production celebrates the beauty of everyday moments and the human connection. Tickets may be obtained at www.apollinairetheatre.com
JAN. 21 – FEB. 2: PETER PAN
The boy who refuses to grow up flies onto the stage of the Citizens Bank Opera House, 539 Washington Street in Boston. Lexus 2024-2025 Broadway In Boston Season brings this the reimagined, high-flying, magical, Tony Award-Wining Musical to audiences of all ages. Based on Sir James M. Barrie’s classic tale, written in 1902 surrounding Peter Pan and his friends, the Lost Boys, it and evolved into a play in 1904. In 1954 the stage musical, starring the diminutive Mary Martin in the role of Peter, opened. Now 70 years later, this marvelous tale still captures our hearts. Peter Pan was adapted as a musical by Broadway legend Jerome Robbins and, the iconic and enduring score is by Morris (Moose) Charlap with additional lyrics by Betty Comden, Adolph Green and Amanda Green. Additional music is by Jule Styne. This new version is now brought back to life with a fresh adaptation by celebrated playwright Larissa FastHorse. The adventure begins when PETER PAN and his mischievous fairy sidekick, Tinker Bell, visit the bedroom of the three Darling children one late night. Peter is looking for his shadow that he lost on another nocturnal visit. The children wake and ultimately, with a sprinkle of fairy dust courteously supplied by Tinker Bell along with a mind full of happy thoughts, the children take flight out the window heading for the magical Neverland. A place that is full of Indians, pirates and a cluster of boys who are excited that Peter has brought them a ‘mother’ to tell them bedtime stories. Everyone knows that Neverland can easily be found by flying toward the first star to the left and then straight on to morning. This classic story has boasted a history of famous ladies in the role of peter. Mary Martin was the first to fly, followed by Cathy Rigby and then Sandy Dunkin, but this Peter is being performed by the fabulously talented Nolan Almeida.
The production is filled with the timeless songs such as “I’m Flying,” “I Gotta Crow,” “I Won’t Grow Up” and “Neverland.” PETER PAN allows us to joyously embrace the child within us. This production is directed by Emmy Award winner Lonny Price (Sunset Boulevard, Lady Day at Emerson’s Bar and Grill) with additional book by celebrated playwright Larissa FastHorse (The Thanksgiving Play, What Would Crazy Horse Do?).The choreography is by Lorin Latarro (Waitress, The Who’s Tommy) along with the flying sequences choreographed by Paul Rubin (Wicked, Frozen). The music supervision and additional arrangements are by Andy Einhorn (Hello, Dolly!, Carousel). “PETER PAN is one of the great treasures of the American Musical Theatre,” said Lonny Price. “The show nurtures and inspires the imagination of its audience and reminds us to keep alive the child within us all.” “I am thrilled to be part of bringing PETER PAN to life for a new generation,” said Larissa FastHorse. “If you loved this musical before, you will still see the show that enchanted you, while discovering a PETER PAN that everyone can enjoy, without harm, for many years to come.” Tickets for this unforgettable and completely entrancing production may be obtained at www.BroadwayInBoston.com
JAN. 23 – FEB. 23: SOMEONE WILL REMEMBER US
Trinity Repertory Company, located at 201 Washington Street in nearby Providence, RI, presents this world premiere by Deborah Salem Smith and Charlie Thurston. It was a co-creation with Dr. Michelle Cruz, Smith, and Thurston. Directed by Christopher Windom, the production tells the powerful, real-life stories of local Iraq War veterans, resettled refugees, and their families. In 2006, Trinity Rep presented Boots on the Ground, a play that was based on some poignantly true stories extracted from a number of Rhode Islanders that were deployed in Iraq. Nearly 20 years later, two questions arise. How does this legacy live on?…And…What have we forgotten? Now, Someone Will Remember Us interlaces the real-life testimonies of these U.S. military veterans, a Gold Star family, Iraqi civilians, and refugees living in Rhode Island. As conflict wages on across multiple fronts around the world, this production paints a moving portrait of the innumerable tolls of war, and how we can find connection throughout.
The eight-person ensemble features resident company members Stephen Thorne and Rachael Warren, Brown/Trinity Rep MFA in Acting student Allison Jones, Teatro en El Verano alum Ashley Aldarondo, returning guest artists Jihan Haddad and Dereks Thomas, and the Trinity Rep debuts Josephine Moshiri Elwood and Jade Ziane.
They artfully take on multiple roles throughout the production, including refugees, veterans, and Gold Star family members. The creative team includes scenic designer Tanya Orellana, costume designer Shahrzad Mazaheri, lighting designer Emma Deane, sound designer Peter Sasha Hurowitz, and vocal & dialect coach Sade Namei. “This play embodies the fundamental principles that made me fall in love with theater in the first place: stories about humanity, cultural visibility, and a creative approach to storytelling,” Windom said. “Because this production is a premiere presentation, we’re all going on a great adventure with a deeply compelling script for a map. I’m eager to share with audiences the collaborative efforts of our writers, actors, and design team. It’s my honor to be part of this production. “ For more information and to obtain tickets for this heartfelt production, visit www.trinityrep.com
JAN. 24 – FEB. 15: HAUNTED
Rabb Hall, in the Boston Public Library (Copley Branch) again hosts Company One Theatre (C1) for the opening production of their 26th season. This National New Play Network Rolling World Premiere is written and directed by Tara Moses and has been produced in partnership with the Boston Public Library. The story surrounds Ash and Aaron who have been dead for twenty years. These Indigenous siblings pass their time dancing to Britney Spears, haunting the families that try to move into their house, and wonder if they’ll ever be free from the shackles of racist stereotypes. As the cycle begins once more, the siblings ask: will they ever make it to the Spirit World? This Indigenous horror comedy is combined with the coolest Y2K hits, forces us to confront the very land we walk on and our relationship (or lack thereof) with Native communities today. The cast features Bradley Lewis* as Ash and Chingwe Padraig Sullivan as Aaron. They are joined by JāQuan Malik Jones as Vincent Jones as well as Evan Turissini as a white man and Katherine Callaway and Tanya Avendaño Stockler as the two white girls. The production team includes a Scenic Design by Danielle DeLaFuente, Costume Designs by Danielle Domingue Sumi, Lighting Design by Elmer Martinez, Sound Design by Aubrey Dube, and Props Designs by Shanel LaShay Smith. As part of C1’s ongoing commitment to Public Art for Public Good, this will be their sixth season in a row where all plays and events are Pay-What-You-Want. This is made possible in part by long-term investments from the City of Boston’s Office of Arts and Culture, the Boston Public Library, and the Mellon Foundation. For more information visit www.companyone.org
JAN. 30 – FEB. 27: S P A C E
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
THROUGH 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. The production features Elliot Norton Award nominee and member of the 2023 Class of The British American Dramatic Academy MIO Program, Thomika Marie Bridwell*in the role of Lily Ann Green. She is joined by DASH Award nominee for Best Actor and Elliot Norton Award nominee for Best Ensemble, Dominic Carter* in the role of Godfrey Crump. Also, Madison Margaret Clark performs as Ernestine Crump, Bridgette Hayes* plays Gerte Schulte , and Catia* takes the role of Ermina Crump . The Scenic Design is by Cristina Todesco**, along with Costume Design by Mikayla Reid;, Lighting Design by Eduardo Ramirez, and Sound Design by Aubrey Dube. Director Tasia A. Jones says, “We may find ourselves scrounging for crumbs from the table of joy, as we search for something to help us get from one day to the next. As we watch the Crumps wrestle with many questions of identity, love, faith, and belonging, I hope we can let the theatre be a sanctuary. I hope it can be a place for us to find our own answers to our deepest questions. I hope we can let it be a sacred space to feel whatever we need to feel, and I hope it can also be a space for us to forget if that’s what we need right now.” Tickets for this stunning, engaging and thought provoking production may be obtained at www.lyricstage.com
THROUGH 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 America. The United States has offered a one way ticket to any black person who wishes to go to Africa. Latinos are on a wait list in case there’s anyone on that priority list who can’t or won’t make the trip. 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 multiple, sharp comedic vignettes about Black American life, history, and identity rapidly unfold. 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. The cast features Schanaya Barrows, Dru Sky Berrian, MaConnia Chesser, Grant Evan, De’Lon Grant, and Kiera Prusmack who take on multiple roles throughout this production. Tickets may be obtained at www.speakesystage.com
FEB. 4 – 16: FUNNY GIRL
The Citizens Bank Opera House hosts the Lexus Broadway In Boston presentation of this multiple award-winning musical comedy. The show officially opened on April 24, 2022, where it continued its record-breaking run through September 3, 2023. It contains one of the most iconic scores of all time. Composed by Tony, Grammy®, and Academy® Award winner Jule Styne and Bob Merrill along with an updated book from Tony Award-winner, Harvey Fierstein (Kinky Boots, Newsies). The show is based on the original classic by Isobel Lennart’s original story. The tap dancing cnoreography is by the legendary Ayodele Casel and general choreographyis by Ellenore Scott(Falsettos). Directed by Tony® Award winner Michael Mayer (Thoroughly Modern Millie) , this love letter to the theatre has everything that makes a musical spectacular. This sensational Broadway revival filled with celebrated classic songs surrounds the story of the indomitable Fanny Brice. She was a girl from the Lower East Side who dreamed of a life on the stage. Everyone told her she’d never be a star, but then something funny happened—she became one of the most beloved performers in history, shining brighter than the brightest lights of Broadway. The show opens with Fanny in her dressing room about to star in the latest Ziegfeld Follier hoping to hear that her husband, Nicky Arnstein, who has has been freed from prison. It evolves into her flashing back o her stage-struck teen self. She was disuaded from show business because she was not a typical beauty. .But her friend Eddie Ryan helped her her get first vaudeville job as a chorus dancer. She was immediately fired by the theater’s owner. Bur she confides to Eddy that she will succeed (“I’m the Greatest Star“). Later, rehearsing with Eddie she decides to re-audition. for Keeney, Mrs. Brice echos Fanny’s point (“I’m the Greatest Star (Reprise)”) and Fanny revolves to audition again for Keeney. After “Eddie’s Tap,” Fanny nervously performs her first numberperforms “Cornet Man,” winning over the audience along with the attention of handsome gambler, Nicky Arnstein. A year later, Fanny receives a telegram from Florenz Ziegfeld Jr. asking to meet him at his theatre. Fanny argues with Ziegfeld over his song choice for her but is forced to perform the song. However, she turns the supposedly romantic number, “His Love Makes Me Beautiful,” into a comedy when she portrays herself as a pregnant bride. Backstage, Fanny’s family and friends are thrilled but Ziegfeld reprimands her to which she apologizes, though he admits he found the act funny. Nick appears backstage, Later, the follies company is preparing to leave Cleveland but Nick tells her he has to win back his money in Monte Carlo. He loves her but cant marry her until he is rich again. But she decides to follow him in pursuit of marriage, no matter what it means for her career. Fanny surprises Nick in Monte Carlo (“Entr’acte”/”Don’t Rain on my Parade (Reprise)”). He tells her that he has won back his wealth and the two are married and move to a mansion on Long Island, with Fanny soon revealing that she is pregnant. She returns to the theatre and Nick embarks on a number of get rich quick schemes including losing a huge amountof Fannies money. Nick returns and getts involved in more deals, secretly supported by Fannie. He is ultimately arrested for embezzlement. Flashing back to the present, (“Dream Ballet”), three years after the arrest, Fanny and Eddie share one last tender moment as Nick appears in the doorway. To know her future, one must come and see this amazing show. The production is filled with stunning sets, gorgeous costumes, brilliant talent and fabulously memorable songs such as (“People”), (“Don’t Rain on my Parade“), (“You Are Woman, I Am Man” , (“I’m the Greatest Star“), and more. Scenic design by Tony Award winner David Zinn (SpongeBob SquarePants: The Musical); costume design by Tony Award winner Susan Hilferty (Wicked); lighting design by Tony Award winner Kevin Adams (Hedwig and the Angry Inch); and sound design by Tony Award winner Brian Ronan (Beautiful: The Carole King Musical). Produced by David Caddick and David Lai. Tickets for this bittersweet tale about a true life legend may be obtained at www.BroadwayInBoston.com
FEB. 5 – 23: LADY DAY AT EMERSON BAR & GRILL
The Merrimack Repertory Theatre in the Nancy L. Donahue Theatre at Liberty Hall 50 E. Merrimack Street in Lowell (Adjacent to Lowell Memorial Auditorium) takes the audience back in time to March 1959 in this poignantly written production by Lanie Robertson. Audiences become privy to a front row seat in a South Philadelphia bar where the great Billie Holiday gave her bravest, most astounding and memorable concert of her life. The audience is about to witness one of Billie Holiday’s final performances, just four months before her passing. “Last performed at MRT in 1998, Lady Day at Emerson’s Bar and Grill was an audience favorite, and we are thrilled to bring it back to the MRT stage,” said MRT’s Executive Artistic Director, Courtney Sale. Being one of MRT audiences favorite plays of all time, Lady Day elucidates the life and artistry of Billie Holiday with songs like “Strange Fruit” and “God Bless the Child” that bespoke the prejudice and hatred that flooded the world Billie lived in.. This show becomes an intimate cabaret experience that leaves audience breathless and reflecting on the heartrending lyrics from those songs. It is a powerful exploration of Holiday’s incredible talent and the inner turmoil she battled with throughout her career. MRT is delighted to welcome Chicago-based actress Jenece Upton to Lowell, where she will take on the iconic role of Billie Holiday. While this marks her debut with MRT, Ms. Upton is no stranger to the character, having previously portrayed Holiday at The Temple Theatre in Sanford, NC, in 2023. She will be joined by Berklee College of Music professor Daniel Freeman Coleman, who will make his MRT debut as Jimmy Powers. Tickets for this poignantly engaging production may be obtained at www.mrt.org
FEB. 7 – MARCH 9: THE GROVE
The Huntington brings to the Calderwood Pavilion’s Wimberly Theatre, the second play by Mfoniso Udofia’s 9 play series. Again reuniting with longtime collaborator Awoye Timpo (The Bluest Eye at The Huntington) as the director, Udofia stages a family homecoming by demonstrating what it means to draw on the wisdom and beauty of our ancestors when the bonds of family are stretched to the limit. Abasiama’s eldest daughter Adiaha wants to become a writer to make her family proud. But at her graduation party, she is forced to choose: between fulfilling her parents’ desires to settle down with a traditional Nigerian man, or stay true to her own romantic inclinations. This production boasts delving into the rich heart of a family drama but sparkles with a thrilling theatrical backdrop reminiscent of a Greek chorus of ancestors. From Huntington Norma Jean Calderwood Artistic Director Loretta Greco sates, “Much like August Wilson’s cycle plays, each play within Mfoniso’s cycle stands brilliantly on its own, prompting new questions, ideas, and conversations. The Grove leaps forward in time and invites us to Abasiama’s daughter, Adiaha’s college graduation party complete with the magnificently interwoven dreams and hopes of her parents, uncles, siblings, and friends. Coming to a head with Adiaha in the center, while a chorus of ancestors attempt to guide her towards claiming for the first time in her life ‘this is who I am.’ You will be moved and changed by the journey, and I can’t wait to share it with you.” From playwright Mfoniso Udofia, “The second play in the Ufot Family Cycle, The Grove, holds a special place in my heart as it was the first play I ever wrote. Following Adiaha, Abasiama’s daughter, as she navigates coming of age, The Grove explores the delicate balance between personal desires and the traditions of the close-knit Nigerian community she holds dear. I hope you enjoy these initial two plays, the beginning of a journey through nine unique plays!”From director Awoye Timpo: “Mfoniso’s Ufot Family Cycle is a bold, whimsical, kaleidoscopic, and groundbreaking achievement. I’m so honored to return to The Huntington to be a part of this epic and transformative storytelling event.” The New York Times gave critical acclaim for Udofia’s Ufot Family Cycle, stating, “Even though the plays are specifically about Nigerian immigrants, the themes are universal.” “Udofia upends preconceptions and expectations with a deeply felt perspective on parent and sibling relationships, immigration, communication, social media perceptions of lives and identities of people split between the American melting pot and Nigeria.” – New Jersey Stage Tickets for this second play in the Ufot series may be obtained at www.huntingtontheatre.org
FEB. 8 & 9: FORBIDDEN BROADWAY: MERRILY WE STOLE A SONG
Boston’s Emerson Colonial Theatre, an ATG Entertainment venue, located at 106 Boylston Street brings the acclaimed cast of this this smash New York engagement. An original, Tony Award winning recipient, this “devastatingly funny!” musical revue is written and directed by Boston native, Gerard Alessandrini and features up-to-the-minute spoofs of Broadway’s latest and greatest shows. It wowed critics when opening off-Broadway this past September. Feeling “completely inspired” by the latest crop of Broadway musicals, Alessandrini has artfully lampooned some of the biggest shows and stars in this all new edition. An example of many up-to-the-minute spoofs include comic looks at Eddie Redmayne in Cabaret and Audra MacDonald in Gypsy.
:Back to the Future: Photo by Carole Rose Along with show such as The Outsiders, & Juliet, Six, and Back to the Future, Sondheim hits Merrily We Roll Along and Company as well as parodies of Cynthia Erivo in the film version of Wicked. Whether you are a seasoned theatre-goer or new to it all, Forbidden Broadway is your one-stop ticket to non-stop laughs as it serves up a hip and fresh view of theatre’s tried and true hits!
Oh Mary! :Photo by Carole Rose Featured in the cast are a talented quartet of comic chameleons from the recent off Broadway run: Chris Collins-Pisano, Danny Hayward, Jenny Lee Stern, and Nicole Vanessa Ortiz. The music director is Fred Barton (Merrily We Stole a Song ). Choreography is by Gerry McIntyre (Spamilton, Once on this Island, Anything Goes). The set design is by Glenn Bassett, with costume design by Dustin Cross, and hair & wig design by Ian Joseph. The musical is produced by John Freedson and Harriet Yellin. Tickets for this sure to be hysterically funny evening can be obtained by visiting www.emersoncolonialtheatre.com.
FEB. 9 – MARCH 16: THE ODYSSEY
The American.Repertory Theater at their Loeb Drama Center, .64 Brattle Street in Cambridge presents this world premiere| by Kate Hamill (Sense & Sensibility, Vanity Fair, Dracula). Commissioned by A.R.T. Directed by Shana Cooper, this play was adapted from Homer’s epic tale. “A true war story is never moral.” –Tim O’Brien, The Things They Carried Acclaimed writer and adaptor Kate Hamill turns a contemporary lens on Homer’s Odyssey in this new play that reimagines the stories of both Odysseus and his wife., Penelope, and asks how we can learn to embrace healing and forgiveness in order to end cycles of violence and revenge. Support for the development of The Odyssey was provided by The Bob and Alison Murchison New Work Development Fund. With additional support provided by The Robert Brustein Endowment Fund for New Works. Recommended for age 14+.Tickets may be purchased at www.americanrepertorytheater.org
The joyous, most uniquely entertaining and enduring venue in Boston, Blue Man Group, has had a proverbial face lift. They still have those vibrant blue faces but their popular show has recently been updated and reimagined with additional new acts that include an all new, unforgettable and awe-inspiring, mega-finale. They have been a theatrical sensation in Boston for close to 30 years, but this great show has become even more exciting with its spectacular transformation. Since its debut in 1995, the show’s home remains at the Charles Playhouse, located at 74 Warrenton St., a diminutive way that is located just off 201 Stuart St. in Boston. Although there have been various alterations in the program throughout the years, the magnitude of this new theatrical restructure is over the top wonderful. The program still retains the same quirky trio of blue bald men who manage to say so much without actually saying anything at all. They exude a sense of wide eyed innocence in their static faces, but, demonstrate, through their wild actions and absurdly funny activates, the abandoned curiosity reminiscent of young children left alone in their house. They hurl marshmallow into their mouths at mind boggling distances and at the audience. They also hurl paint balls across the stage that are caught in the mouth and used to spit/create a work of art.
Their love of paint results in colorful spin art or out and out messes as they enthusiastically beat drums that paint has been poured on them. They even spray paint people. They walk, unabashedly through the audience across the arms of the audience’s’ seats, showing no emotion, in search of unwitting candidates for their next on stage, hilariously funny scenario.
Through music and perfectly timed subtle facial expressions, these guys manage to hone in on their topics. They are comedic geniuses that have mastered their art at crafting a uniquely fabulous, intensely ludicrous comedic performance. They continue to magically bring to the audience, without any verbiage, a state of understanding that easily defines the connection to the human condition. This is a technique the Blue Men have always been noted for. The best laughter is when we find ourselves laughing at ourselves. The Blue Men are still utilizing much of the fan favorite music and audience interactions that garnered their award-winning popularity. But, there are delightfully energetic new surprises to discover throughout this new adaptation. Gone is the electronic board that was utilized throughout the show that one had to read to understand what was going on. Now the Blue Men engage with a robotic voice along with fabulously colorful and high energy projections.
Original fans, are rapidly being joined with a whole new generation of all new fans who all find themselves captivated by the newly created score, pounded out with the traditional stellar accuracy by the Blue Men on their tuned PVC pipes. They are backed by an overhead trio of hot, rock musicians. Managing Director, Jack Kenn stated, “Blue Man Group is thrilled (with) this revolutionary new show content…(as) we…transport audiences with new music and new visuals through our partnership with renowned creative agency Pretty Damn Sweet…(along with)…the all-new show finale…that… leaves crowds on their feet.” Blue Man Group debuted at New York’s Astor Place Theatre in 1991. Duplicate versions of the live show expanded to long lived residencies in Boston, Chicago, Las Vegas, and internationally to Berlin, Germany. In addition, multiple North American and World tours have reached move than 50 million people worldwide.
The entire family can come get ‘blued’ as these guys enchant young and Children in the audience are often enthusiastically heard anxiously responding, excitedly anticipating the next silly action by the Blue Men. Note: children under 5 will not be admitted. Since Blue Man Group is owned and operated by Cirque du Soleil Entertainment Group, an audience can always be guaranteed a truly especial experience. Tickets for this beyond belief engaging as well as electrifying, and extremely fun performance may be obtained here by clicking on www.blueman.com/boston
(*) Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the U.S (**) Represented by United Scenic Artists, Local USA 829 of the IATSE
(° )Stage Directors and Choreographers Society
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Actors Shakespeare Project: www.actorsshakespeareproject.org
American Repertory Theatre: www.americanrepertorytheater.org
Apollinaire Theatre: www.apollinairetheatre.com
Arlekin Players: www.arlekinplayers.com
Arts Emerson: www.artsemerson.org
Big Apple Circus: www.BigAppleCircus.com
Blue Man Group: www.blueman.com/boston
Boch Center: www.bochcenter.org
Boston Children’s Theatre: www.bostonchildrenstheatre.org
Boston Playwrights: www.bostonplaywrights.org
Boston Theatre Scene: www.bostontheatrescene.com
Broadway In Boston: www.boston.broadway.com
Brown Box Theatre Project: www.brownboxtheatre.org
Cape Playhouse: www.CapePlayhouse.com
Cape Cod Theatre: www.capecodtheatrecompany.org
Celebrity Series: www.celebrityseries.org
Central Square Theater: www.centralsquaretheater.org
Cirque du Soleil: www.cirquedusoleil.com
Commonwealth Shakespeare Co.: www.commshakes.org
Company One Theater: www.companyone.org
Company Theatre: www.companytheatre.com
Emerson Colonial Theatre: www.emersoncolonialtheatre.com
Emerson Cutler Majestic Theatre: www.cutlermajestic.org
Flat Earth Theatre: www.flatearththeatre.com
Footlight Club: www.footlight.org
Fort Point Theatre Channel: www.fortpointtheatrechannel.org
Fresh Ink Theatre: www.freshinktheatre.org
Gloucester Stage: www.gloucesterstage.com
Greater Boston Stage: www.greaterbostonstage.org
History At Play: www.masshist.org/calendar
Hub Theatre : www.hubtheatreboston.org
Huntington Theatre: www.huntingtontheatre.org
Improve Boston: www.improvboston.com
Israeli Stage: www.israelistage.com
Lyric Stage: www.lyricstage.com
Merrimack Repertory Theatre: www.mrt.org
Moon Box Productions: www.moonboxproductions.org
New Repertory Theatre: www.newrep.org
Nora Theatre Company: www.centralsquaretheater.org
North Shore Music Theatre: www.nsmt.org
Oberon: www.cluboberon.com
Ogunquit Playhouse: www.ogunquitplayhouse.org
Praxis Stage Co.: www.praxisstagecompany.com
Trinity Repertory Theatre: www.trinityrep.com
The Umbrella Arts: www.theumbrellaarts.org
Underground Railway Theatre: www.centralsquaretheater.org
The Underlings Theatre: www.underlingstheatre.com
Wellesley College Theatre: www.wellesley.edu/theatre
Wellesley Repertory: www.wellesleyrep.org
The Wilbur: www.thewilbur.com
Wheelock Family Theatre: www.wheelockfamilytheatre.org
RE: FUTURE PROGRAM LISTINGS PRODUCTIONS ARE INITIALLY LISTED CHRONOLOGICALLY BY ‘OPENING DATE’…WHEN THE OPENING IS PAST, THEY ARE THEN MOVED DOWN THE LIST CHRONOLOGICALLY,.. INDICATING ‘END DATE’ BY THE NOTATION, “THROUGH”…AND THEN IS REMOVED WHEN SHOW HAS ENDED. SO EXPLORE AND MAKE PLANS……………………………….(FYI: * Connotes that a performer is a Member of Actors’ Equity Association)