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The Nutcracker

as so many of the great stories are, The Nutcracker is also prone to reinvention, which is what the House Theatre has done here. The storytelling is infectious. A happy equilibrium is struck between straight acting, sheer exuberance, and clever winking at the audience. To call this a children’s show would miss the point; to call it a Christmas show would too, although to a lesser extent. It is, after all, about saving Christmas. But more than anything it’s a good time, and certainly gets you in the mood for what can otherwise be a soul-crushing shopfest that has now started to infest even Halloween.

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Red Light Winter

The script is at once serious yet playful, superficial yet deep. Depression, suicide, and deadly disease sit next to the dalliance of drugs and frat-boy pranks. It’s the combination that Adam Rapp balances so well that makes this piece what it is. And Mary-Arrchie Theatre brings a smart interpretation of the text with strong actors that make this a piece really worth watching.

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Boris Godunov

Modest Mussorgky’s only completed opera is not for the faint of heart; it is not for those who like the Italians and nothing else, the lyrical, the symphonic, the easy ones. Boris Godunov is a difficult piece, at once crass and deep, with, on the one hand, somewhat technically amateurish composition, and, on the other, incredible insight into not only how to musically convey the moods of the characters but how to convey the chaos and horror around them.

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