Suzanne Willett

Since last season I have been seeing more and more companies addressing the economic/political climate directly and Boxcutter continues this essential work and does it with wonderful campy humor.  Dimension Zero is a musical/puppetry/sci-fi romp centering on the toxicity of capitalism.  My understanding of the story (I do not have the script) is that an alien Zenda vows to help emancipate the low-paid labor of orphaned children working for a Mr. Walters, a billionaire.  Zenda

The Mutables centers on one’s ability to have a voice.  In part 1 of this exploration, a character (Marie Lloyd Paspe) falls through a door and finds herself in a world with a chorus of Ielel, mythical beings akin to the Sirens/Furies/Bacchae.  Paspe’s character discovers that she cannot make sense when she speaks. The Ielel ‘speak’ as they move their bodies and sing.  She begs the Ielel to help her, but they do not help her get her voice back.  I was taken out by the conund

Beckett’s end-of-life treatise is well realized here with Stephen Rhea’s performance.  Rhea (Krapp) demonstrates skill with comedic timing, reflective moments and silent performance.  Jamie Vartan’s ‘interrogation room’ set supports Beckett’s theme of barrenness at end of life and hints at a search for truth.  The grey of Vartan’s set against Katie Davenport’s black and white costume for Krapp reinforces the emotional ambivalence of that search.  Paul Keogan’s sharp-edged rec