Vivienne N. Germain

Hub Theatre’s “Burn This” seeks to probe weighty facets of life, but the actors do not achieve the necessary complexity to do so.

"John Proctor is the Villain" provides profundity and levity, which neither detract from nor clash with each other, but instead enhance the show.

In “Alt-Nature,” Saretta Morgan engages with the desert and the waters to meditate on love, violence, injustice, Blackness, and queerness.

Achieving its goal to mirror Black queer women of the present day, “BLKS” told a relatable story full of humor and heart.

Lacking speed and energy, Lyric Stage’s “The Game’s Afoot” falls short of farce.

BlackCAST's annual festival demonstrated the beauty of creating art in community while also highlighting individual playwrights' unique voices.

Through Gothic literature, women writers have developed and dominated horror storytelling since the 18th Century to discuss social issues or to write complex female characters without focusing on romance and men — a literary phenomenon that continues today.

The Huntington’s gripping and hilarious “Fat Ham” is a well-done, must-see show that engages and enchants audiences. It’s funny, it’s fresh, and it’s delicious food for thought.

Five years after the upload of “Illegally Blonde: For Your Consideration,” we should reconsider the mockery and allow children to play with theater — even when it’s awful.

Atwood sat down in conversation with The Harvard Crimson to discuss “Old Babes in the Wood,” her writing process, and how the two relate: she wrote the book to her own taste, and it worked.

Dawn M. Simmons is a director, playwright, movement enthusiast, world builder, creator, and dreamer.

What if Shakespeare’s “Romeo and Juliet” was two girls kissing in a secret psychedelic basement?

“Heroes of the Fourth Turning” offers a surprisingly underrepresented and risky approach: listening — really listening — to the perspectives of white right-wing conservatives.