Word: huntingtonism
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...Huntington Theatre Company, in its fourth season under its imported New York artistic director, Nicholas Martin, is finally taking up the mantle of a premiere regional theater. In other words, it is finally done planting its feet as it moves through a season that has put Nathan Lane on its stage, and as it stands at the helm of the first major building project of the last 75 years of Boston theater history, a project funded by seven banks and Boston corporations...
It’s not the same Huntington as in the ’80s and ’90s, when it stuck to the old scripts and the old stagings and watched all the new stuff happen in the American Repertory Theatre (ART) across the river. And it’s not, now, another ART. Instead, the Huntington has managed to be rejuvenated on its own terms—still classical but with more conviction; still powerful, but with new subtlety...
...shares the theatre with the Huntington in an arrangement much like the one between the Loeb Center, home of the ART, and the Harvard-Radcliffe Dramatic Club. Unlike the ART, the Huntington is not a repertory theatre, so it does not have regular cast members. It does, however, have an artistic director who directs two shows out of a six-show season lineup and a few regular crew members with long working relationships with the director, like costume designer Linda Cho and set designer Alexander Dodge, whom the Boston Globe regularly praises...
...turning point for the Huntington came with the arrival of Nicholas Martin in 2000. Previously working in Broadway and Off-Broadway and as resident director at the Williamstown Theatre Festival (which still maintains strong ties with the Huntington, as the same people tend to work in both places), Martin was hailed as a second creative wind after a stagnant period for the company. He was a working director. He had won an Obie. He knew Ethan Hawke and Nathan Lane...
...that is the extent to which the Huntington has settled into solid footing. As it wraps up its current season with Joe Orton’s 1960s farce, What the Butler Saw, and Tennessee Williams’s The Rose Tattoo, the Huntington has given the theater-going public a certain measure of expectation and a wondering anticipation of what will, finally, appear on the stage...