Oh, God was originally produced by Israeli Stage in 2013 as a staged reading before touring regionally and is now back as the company's second fully staged production. Directed by Guy Ben-Aharon Oh, God is uncharacteristically still for a script that features two characters in a constant state of passion. The intimate two character play fits nicely in a small black box theatre and can benefit from some theatrical stage magic. God uses his powers onstage and even summons up a wrath of fury at the climax. Lighting and sound could have done more to complement this moment.
If theatre can be measured by the same satisfying feeling that follows a delicious meal, then Tom Stoppard's script is the aged rib-eye from The Capital Grille. Arcadia is often referred as a masterpiece with limitless theatrical potential and offers actors delicious, well-developed roles to dive into. This makes it disappointing that The Nora Theatre Company manages to harness only half of the play's potential. Under the direction of Lee Mikeska Gardner, Arcadia traverses at cruise control pacing, but flat lines in rhythm resulting in a loss of Stoppard's cadence. The overzealous staging, motivated less on action and more on trying to posture around a table, distracted from the digestion of the heavy dialogue.
Directed by Megan Sandberg-Zakian, TheConvert sets the bar so high for Boston professional theatre that it is unfair for anything else slated to open this season. Sandberg-Zakian's command of Gurira's script is so muscular that the final product is satisfying to an audience seeking taut, powerful and thought-provoking theatre.
Storytelling is theatre in its' purest form, but a story can often become secondary or lost when faced with spectacle. In a culture where overproduced mega musicals dominate the box office, it is refreshing to see A.R. Gurney's "Love Letters," a delightful bare bones, two person play with a single focus on human relationships.