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Now in its third year, "Celebration of Black Voices,” a free four-day festival, running Aug. 11 through 14 on Pittsfield’s West Side, aims to celebrate the local Black community through artistic engagement and by showcasing a mix of professional artists and local talent.
For the last show she will be directing while still BSC’s artistic leader, Julianne Boyd is returning to Sondheim’s elegant 1973 musical about sexual and romantic liaisons among the high-born — and a few low-born — in a community somewhere in turn-of-the-century Sweden.
Alan Paul will replace a co-founder of the Barrington Stage Company in Pittsfield as its next artistic director. The company’s board announced Wednesday that Paul, associate artistic director of the Shakespeare Theatre Company in Washington, D.C., will replace Julianne Boyd.
The Supadupa Kid, created by local author Ty Allan Jackson, comes to the stage. The cast and crew reflect on the power of representation.
On its surface, Nilo Cruz’ 2003 Pulitzer Prize drama, “Anna in the Tropics,” is a lofty, flowery play about love lost and spiritual and sexual reawakening, as well as about art, life and the intersection between them, writes Eagle critic Jeffrey Borak. In reality, “Anna in the Tropics” — especially in the no-better-than-serviceable production at Barrington Stage Company — is little more than just another dysfunctional family drama.
In Barrington Stage's production of "Anna in the Tropics," it's 1929 and Juan Julian Rios is a lector, hired to read aloud in clear, expressive tones to workers in a hand-rolled cigar factory in Tampa’s Ybor City. The book he has chosen to begin with is “Anna Karenina,” Tolstoy’s weighty tale of marriage, desire and betrayal. This choice will affect the lives of those around him in ways no one can imagine.
The teachers and students in May Treuhaft-Ali’s work — which is being given a vigorous, if uneven, world premiere at Barrington Stage Company's St. Germain Stage — are under steady assault. It’s not physical violence that threatens them; it is, rather, the pressures to succeed academically at any cost.
The Berkshire Black Economic Council on Saturday released data that it says show diversity and inclusion are lacking at the county's many arts and cultural venues.
The roughly 90-minute intermissionless play unfolds at two very different schools in the same unnamed city: one, a seriously all-but-neglected inner city public high school; the other a nearby school for elite students. The measure of the schools’ success is reflected in how their students perform on state-administered standardized tests.
The joint is truly jumpin’ throughout director/choreographer Jeffrey L. Page’s singular, boldly theatrical treatment of “Ain’t Misbehavin’: The Fats Waller musical,” which opened over the weekend at Barrington Stage Company’s Boyd-Quinson Stage.
