Many languages are bandied about in Brian Friel’s Translations—Greek, Latin, Gaelic, the king’s English, to name a few—creating a rich linguistic tapestry central to the play’s theme of cultural identity, understanding and meaning without words and ultimately, tragic miscommunication.
When Studio Theatre decided to stage Irish master Brian Friel’s Translations this season, the timing seemed like a perfect fit for Studio’s Belfast-born associate artistic director Matt Torney to direct. “I am from Northern Ireland and Brian Friel is our greatest writer,” Torney says. “He passed away recently, so he was very much on my mind […]
Much of the fumbling journey of growing up as a teenager is done around other teenagers, not parents or other adults, at least in my experience. And the essence of that pubescent collective identity is at the center of playwright Sarah DeLappe’s celebrated debut The Wolves, about a pack-circle of girls shaping one another in […]
Put a group of high school junior girls together and the conversations could range from anything from boys to movies to selfies, but when those girls are part of a win-now, demanding soccer team, that talk becomes serious, fast.
The team of playwright Rachel Bonds and director Mike Donahue (The Wolfe Twins) has returned to Studio Theatre to present Curve of Departure, fresh from its world premiere at South Coast Rep in California.
The convening of people who may not have anything more in common with one another than shared DNA at holiday time can result in more misery than merriment for all involved. A funeral, too, can provide a similar arena for conflict—with the added pitch of grief heightening everyone’s emotions. So, it’s fitting that Studio Theatre […]
I had the entire introduction to this review written out in my head before I stepped foot in Studio Theatre to see the world premiere of Daniel Kitson’s new solo show, A Short Series of Disagreements Presented Here in Chronological Order.
The Effect is a beautiful rumination on what love is—a combination of naturally occurring chemicals with which the brain floods the body. Or something altogether different. Something controllable. And, therefore, perhaps, less toxicating.
In theater circles, Dominique Morisseau is regarded as one of the most significant and talented African-American playwrights working today. Last year, she made the list of Top 20 Most Produced Playwrights in America, and has recently penned a popular three-play cycle entitled The Detroit Projects.
A skeleton crew is the minimum number of people needed to maintain something in operation—to keep something alive. The title of Dominique Morisseau’s appealing, thought-provoking drama at Studio Theatre could refer to the quartet of characters who inhabit it, a sample of the dwindling remnants of a once-mighty population of auto workers in an industry in flux.