“To Kill a Mockingbird” by Harper Lee has bred generations of followers, and there’s good reason: For baby boomers and beyond, the Pulitzer Prize-winning book was the first clear depiction of fighting for civil rights, in spite of the odds. It became an instant overnight sensation.
“Travesties” by Sir Tom Stoppard opened Saturday as the second production in Bay Street’s season of — as Scott Schwartz, the artistic director, puts it — “art and revolution.” If one were to Google the words “plays about art and revolution,” this provocative and brilliant offering by the Isaac Newton of theater would most likely be first, or at least in the top 10.
All Charlie Baker wants is some peace and quiet — from his humdrum London desk job, his dying wife, and his own demons. But when Froggy LeSueur, an English military type still with the barest whiff of colonialism about him, brings the staid British bore on a three-day job 100 miles south of Atlanta, a mishmash of mushmouth and cultural clashes ensues, with jaw-hurting hilarity.