Shows & events intro
- A.R.T. 2016/17 Season
- Special events
- A.R.T. in the World
- Support Us
A.R.T. Institute maximenu
A two-year, five-semester graduate training program that includes
a three-month residency at the Moscow Art Theater School in Russia.Stay
In the News
Though I’ve just begun writing this review, I am already at a loss for superlatives. NATASHA, PIERRE & THE GREAT COMET OF 1812 has to be one of the most fantastically alive and rapturous theatrical productions I’ve ever seen.
Ever get punch-drunk from a musical? A heady, intoxicating feeling that leaves you joyfully disoriented, giddy even? It's a rare occurrence, like seeing a meteor in the night sky, but it is happily happening now at the Loeb Drama Center...
From the moment Natasha receives an illicit love letter until Pierre’s concluding aria over a celestial wonder, “Natasha, Pierre & the Great Comet of 1812” is a captivating experience...
Alchemy is afoot in ART's current production, the much-acclaimed “Natasha, Pierre and the Great Comet of 1812”.
WBUR: The Dazzling 'Natasha, Pierre' – And A Techno Tolstoy – Light Up The A.R.T. (December 17, 2015)
In "Natasha, Pierre and the Great Comet of 1812," the writer/composer/lyricist — also the musical force behind “Three Pianos” and “Beowulf — A Thousand Years of Baggage” — has turned less than a hundred pages from the middle of Tolstoy’s opus into a romantic and driving swirl of music and storytelling that is beyond exhilarating.
Lucas Steele cuts quite a dashing profile in "Natasha, Pierre and the Great Comet of 1812," the adventurous musical at the American Repertory Theater. EDGE spoke to him about playing the caddish Anatole for the third time.
Patrons strolling through the doors of the American Repertory Theater’s Loeb Drama Center may feel they’ve somehow been transported into a sumptuous 19th-century Russian supper club.
The smart and smart aleck antics completely change the specifics of the play and in doing so honor its spirit better than any production I've seen.
Edge Boston: Michael Yates Crowley & Michael Rau Examine Pain (With a Little Help from Ludwig Van Beethoven & Ayn Rand) (October 19, 2015)
How does one deal with pain? That is what Michael Yates Crowley & Michael Rau look at in an engaging theater piece at Oberon this week. EDGE spoke to the writing/directing/performing duo about pain, Beethoven & Ayn Rand.
Dizzying, humorous, and sincere, “Song of A Convalescent Ayn Rand Giving Thanks to the Godhead (In the Lydian Mode)” which runs Oct. 15-Oct. 23 at the Oberon, deftly combines Ayn Rand, Beethoven, migraines, and a multitude of other elements.