Tag Archives: BAM

What makes these productions so good is their attention to detail, both in the actors' characterizations and in the myriad perfect touches of action and interaction.

Many of the play's well-known scenes and speeches hit home with depth and exactitude under Gregory Doran's scholarly and wide-angled direction in this spectacular if flawed production.

Clad in golden or pure white robes and with curly hair flowing down his back, Tennant's King Richard II is an arresting figure, oozing nervous faery-king charisma.

Brimming with a studied outrageousness, and brushed with sentiment, the show takes a sidelong look at the pretentiousness of downtown artsiness, while reminding us – or introducing us to – the French force of nature who provoked the spirits of so many 20th century creatives.

Casting a bit of light on the history of free blacks in the West, a Shakespearean actor brings a kind of humble audacity to role of the first black man to cast a vote in England. It's a lovingly and masterfully crafted performance, buoyant and never didactic.

This avant-garde but entertaining show brings Queen Elizabeth I's personality craftily and colorfully to life using her poems, prayers, and speeches, dozens of threads stitched artfully together into a gracefully energetic mini-biography.

Some critics disdained this production when it settled in Canada in 2012. But while in some respects it may confound, it feels honest, both musically and theatrically. Plus: Sumo wrestlers!

'Embers' succeeds a good deal more dramatically than one might have expected from a radio play transferred to the stage.

"The Rite of Spring" descends on Brooklyn in an exciting new context.

BAM's dynamic new version of Ibsen's "The Master Builder," starring John Turturro is a hallmark for its director and cast. Potent production, memorable acting, chilling conclusion.