A romantic (alright, maybe more salacious) clusterfumble of errors is a rip-roaring object lesson in why there’s not much of a market for old, fat, drunk, unbathed gigolos.
MaConnia Chesser, Nigel Gore, and Jennie M. Jadow as Meg Page, Sir John Falstaff, and Alice Ford (respectively) in The Merry Wives of Windsor; photo by Nile Scott
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Not much gives away what a slap across the psyche a drama is going to be like a funny first act.
Diane Prusha, as Hazel, in Lucy Kirkwood's The Children, on stage at Shakespeare & Company until August 18; photo by Nile Scott Studios.
We’ve had a running joke in our house about much how we enjoy a production that’s “ultimately life-affirming” after seeing one billed that way years ago. The show was superb, and I wanted to scrub the depressing, kinda icky residue out of my memory with a pumice stone and some strong lye soap for a
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![Barbara Ernst Prey, School Room, 2019, watercolor on paper; [source Hancock Shaker Village].](https://i2.wp.com/www.greylockglass.com/wp-content/uploads/2019/05/School_Room.jpg?resize=150%2C150&ssl=1)
viewed 03/07/19
Before the doors leading into the CenterStage
open at the ’62 Center for Theatre and Dance, audience members waiting to see The Last Days of Judas Iscariot are
invited to form lines behind three candle-bearers. We are led into a solemn
scene lit by a single streetlight, where we stand before a woman who is
mourning the death
