Review from Joyce's Choices
Gamers on guard: I just saw the season closer at Boston Playwrights’ Theatre which is dedicated to new plays, and this one is terrific and timely: DEAL ME OUT written by MJ Halberstadt. It takes place in November, 2016 the week after that revelatory presidential election. A group of gaming millennials, friends since high school, have been gathering weekly in one of their basements to play board games. On this night, all six show up, and unbeknownst to one of them–five have a very specific agenda. Though that agenda is divulged in the show’s press materials, it’s better if you find out by watching. Let it be said that as the evening progresses, according to the agreed upon rules of the group, those “rules,” are tested and come up short.
Review from The Boston Globe
One — just one — of the achievements of “The Smuggler,’’ Ronán Noone’s engrossing new verse drama at Boston Playwrights’ Theatre, is the way most of its rhymes fall so naturally on the ear.
That we largely forget the verse and focus our attention on the drama is a tribute both to Noone’s craftsmanship in constructing such a ripping yarn and to the storytelling gifts of Billy Meleady, who delivers a tour de force solo performance in the New England premiere of Noone’s play.
Review from The Boston Globe
It’s relatively unusual for two plays by a writer not named Shakespeare to be simultaneously running at two different Boston-area theaters. But after seeing “The Book Club Play’’ and “Native Gardens,’’ a pair of snappy, crowd-pleasing comedies by Karen Zacarías, I get it.
“The Book Club Play,’’ which focuses on the upheaval within a book club when they open up their meetings to a documentary filmmaker, is the stronger of the pair, featuring a topflight ensemble directed by Shana Gozansky at Boston Playwrights’ Theatre.
Review from BroadwayWorld.com
The Boston theater community is enriched by the presence of Boston Playwrights' Theatre, founded in 1981 at Boston University by Nobel Laureate Derek Walcott. The BU New Play Initiative is an element of the Boston University College of Fine Arts which fosters a commitment to the School of Theatre's development of new work. Together, BPT and NPI are producing the final entry in the 2018-2019 season of new plays, Dead House by Beirut Balutis, a member of the BU M.F.A. Playwriting Program, class of 2019. M.F.A. directing candidate Adam Kassim (The Honey Trap, 2017) returns to BPT to direct this new drama.
From the March/April 2019 issue of The Dramatist
I've written three fan letters in my life: one to the Monkees when I was ten years old (I had a mad crush on Micky Dolenz), one to Lucille Ball when I was fourteen years old and now at a considerably older age, this article-as-fan-letter to Kate Snodgrass and Boston Playwrights’ Theatre (BPT) at Boston University. Having lived as long as I have and worked in a variety of academic/professional training programs, I know how training programs in the arts should be, what they should focus on pedagogically, how they should train writers (or actors, designers, directors), what their faculty should be and how they should prepare their artists for the career ahead of them—all this while maneuvering big dreams through limited resources. So, what distinguishes BPT from similar training programs (those found at Brown, Carnegie Mellon, NYU, Northwestern and the University of Texas, for example)?
Review from The Theater Mirror
I’ve only visited Florida a handful of times and have never been to Miami. Each trip was to Orlando and if I had to venture a guess, true Floridians probably don’t view the world of Walt Disney as “real” Florida. I’ll have to take it on faith that the Miami invoked in Boston Playwrights’ Theatre’s Laughs in Spanish is true to the real place, but given that playwright Alexis Scheer calls the city her home, I’m willing to make that leap. There’s an energy at play in Laughs in Spanish, a kind of beat that you start bobbing your head to as you enter the theater. You don’t realize how easily you’ve slipped into the world of the play. It’s a world of rhythm and color and once you’re on its wavelength, the production hooks you with its many charms and keeps you in a state of frothy fun.
Review from The New England Theatre Geek
Winter People and playwright Laura Neill aren’t taking any of your establishment bullshit. This play challenges how we view play production. It takes great risk with even greater success. It is well written and should be viewed by as many developing and established artists as possible. It breaks rules and shows us why these traditional rules are should be broken.
Review from The Boston Globe
The title is overly melodramatic and so is the play at times, but Kira Rockwell gets a lot of things right in “The Tragic Ecstasy of Girlhood.’’
Rockwell’s jolting and urgent new work, which features a diverse and passionately committed young cast at Boston Playwrights’ Theatre, focuses on four teenage girls in a Texas residential treatment facility who are coping — or not — with the suicide of one of their housemates.
Review from The Patriot Ledger
BOSTON - Opera comes in many sizes. On one end, there are the grand-stage, orchestra-in-the-pit, audience-in-Sunday-best operas. On the other, a few singers in a room, with a piano.
In between there’s chamber opera - a modest amount of instruments, a small cast of singers, simple sets. This version can be the most accessible, and the most rewarding. “The Rosenbergs (An Opera),” onstage now at the Boston Playwrights’ Theatre, proves it.
Review from WBUR's The ARTery
Walt McGough’s new play “Brawler” — playing through March 18 at Boston Playwrights’ Theatre — works too hard at first to keep its story moving, but scores in the end.
Pro hockey player Adam (Greg Maraio) — known affectionately to his teammates as Moose — goes berserk in a hockey arena locker room one night after a romantic evening of skating around on the ice with his girlfriend Trisha (Gigi Watson). He’s a powerful guy, and the havoc he wreaks is extensive. (Props to scenic designer Cristina Todesco, whose sets are always beautiful to behold. In this case, even wreckage seems eloquent.) The damage Adam does to the locker room is the least of the problems his outburst creates; his pal Jerry (Marc Pierre), the arena’s security guard, is on the hot seat for having let Adam and Trisha into the place for their private pleasure.