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In the News
New York Times: Ulysses as an American Slave - ‘Father Comes Home From the Wars,’ by Suzan-Lori Parks, at the Public Theater (October 28, 2014)
By turns philosophical and playful, lyrical and earthy, Suzan-Lori Parks’s new play, “Father Comes Home From the Wars (Parts 1, 2 & 3),” swoops, leaps, dives and soars across three endlessly stimulating hours, reimagining a turbulent turning point in American history through a cockeyed contemporary lens.
This 60-minute descent into self-delusion offers a haunting and occasionally humorous window into the lengths people might be willing to go in pursuit of fame.
The degree of difficulty in the style of the play, both in terms of Ravenhill’s writing and the performers’ agility, is engagingly high. ... Anytime A.R.T. or anyone else wants to bring Ravenill or One Year Lease Theater Company back, I’m there.
Any resemblance between the struggling visual artists in the play and the people who make small-company theater is, well, not entirely coincidental.
It’s a typical Saturday night for Mauriello, one of the stars of Diane Paulus’s “The Donkey Show.” It starts at the American Repertory Theater’s Oberon stage and ends, like Saturday nights at Harvard often do, with a Felipe's run.
In a clubscape that can feel highly fragmented, where night owls tend to find their micro-scene and stick to it, The Donkey Show at Oberon achieves the impossible: blurring every last social boundary with a scandalous amount of glittery skin and thumping disco anthems that thrust every gamine hip into reimagining Shakespeare’s A Midsummer Night’s Dream, the bacchanalia’s loosely insinuated theme.
Think of: Fred Savage, from his “Wonder Years” days. Aidan has the same fresh-scrubbed innocence. But his dancing-singing-acting chops are reminiscent of another former child star, Neil Patrick Harris.
ART.'s artistic director will no doubt add to the string of Tony Awards she already wears on her belt.
Don’t come to “Finding Neverland” expecting to see Peter Pan and Wendy flying through the air. Director Diane Paulus and the other creators of the new musical are after a more earthbound kind of magic.
“Neverland” has a fair shot at becoming the kind of show that children drag their parents to. ... “Neverland” occupies its own niche, built on a blend of 21st-century easy-listening uplift, some timelessly inventive stagecraft and sentiments that would be unlikely to make even a delicate Victorian lady blush.