In the News

It was love at first read for actress Tracee Chimo when she encountered Sue Trinder, the unconventional heroine of the Sarah Waters novel “Fingersmith,” whom she will portray in a stage adaptation of the historical crime drama being presented by the American Repertory Theatre beginning tomorrow night at the Loeb Drama Center in Cambridge.
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Kristine Nielsen comes to the American Repertory Theater with Alexa Junge’s acclaimed adaptation of Sarah Waters’ Fingersmith, a delicious, edge-of-your-seat Victorian thriller that will no doubt be the hottest ticket in town this winter.
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“Fingersmith” has a lot of moving parts — even after you account for the turntable built into the set, the carefully coordinated video projections, and the mid-scene costume changes. There’s also the dense, twisty story itself, in which one view of events is enacted only to be jostled aside by competing versions, and the reliability of narrators is repeatedly questioned.
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In support of its most recent album, Blooming Through the Black, Connecticut-based Parsonsfield brings its tour to OBERON as part of the Sound Society concert series. Parsonsfield provided original music for, and performed each evening in, The Heart of Robin Hood at the American Repertory Theater a few seasons ago, and its ascent has been steady since. Here, lead singer Chris Freeman looks back on Robin Hood, how it changed the band, and the uniting power of music.
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For Sound Society’s music series this winter, theatrical production value is key.
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With his retro-look (think Bette Page) and basso rasp with which he cracks jokes and sings an eclectic mix of songs, from pop to jazz to rock, Arias is a true original and legendary drag pioneer.
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‘The Garden’ is an intimate, immersive show for tiny audiences.
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There are lots of conversations in performing arts circles these days about finding ways to expand audiences, both in terms of their demographic makeup and their sheer size. Another concern is tweaking the audience experience — finding ways to break down the traditional dynamic of performers onstage and ticket holders politely observing until they applaud at the end.
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The carnal heart pulsing within prison-bar ribs: Maddy Costa responds to Rachel Mars’ Our Carnal Hearts.
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With it's polemic political message, The Plough and the Stars has pulled back the myopic lense through which we usually watch theatre by giving us more to examine than other Boston premiers this year. This must have been what epic theatre felt like during Bertolt Brecht's time. 
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