Media Archive

It takes a while to learn the craft of writing a play. The first effort by any playwright usually ends up in a cardboard box in the attic, or in the shredder. Andy Mientus’ first play will wind up at the American Repertory Theater in Cambridge.

Harvard sophomore in ‘Burn All Night’ doesn’t have to choose.

I was tired when I walked in and fired up when I left. The show is propelled by ingenious direction and up to the minute choreography.

Though an escape, “Burn All Night” is a very of-the-moment piece. The most vivid parallels exist between our imploding political situation and uncertain environmental future and the apocalyptic tune of the show.

There’s much fun to be had in its current iteration, which has catchy, pop-synthed songs beautifully sung by the company and a staging that can’t help but bring the audience into the action.

Powered by an upbeat synthpop score that features a few numbers that sound like they were snatched from 80’s teen movies like “Weird Science” or cult favorite “Better Off Dead”, “Burn All Night” rocks out pretty well overall.

They set out to tell a story about a bunch of young New Yorkers, anxious about a potential apocalypse, but partying and coupling in the shadow of impending doom. So, why not tell the story in the setting of a dance club, using the kind of music that the kids would dance to in such a club.

The Bedlam theater company’s frolic with Miss Austen’s Sense and Sensibility is absolutely delightful, at a moment’s notice changing from light and frivolous to polite and sensible – with just the right touch of nonsense.

While it is scrupulously true to the plot of the novel, Hamill’s adaptation and Eric Tucker’s direction make this very much a story for our time. It brings the gossips of the tale front and center, unveiling how they revel in other people’s misery, could care less if they ruin lives, and run amok with juicy details.

The basic story (or, rather, stories) are well enough known from the novel as well as the numerous television and film adaptations, but this version by Bedlam (as is their wont) is a real trip like no other. And every single member of this tenfold ensemble is brilliant. As just one example, in the blink of an eye Birnbaum flashes from motherly concern as Mrs. Dashwood to airhead Anne Steele to ancient Mrs. Ferrars with lightning speed in a bravura display.