Next Door at New York Theatre Workshop’s production of Dinner with Georgette is basically Tony Kushner gone wrong.
Author: Steven Strauss
P.S. 2ST
Since I never like to judge anything until experiencing that thing firsthand, I thought twice before publishing this article back in 2017, which bemoans Second Stage’s decision to renovate the perfectly-fine HELEN Hayes Theatre, their new home on Broadway.
A New News Roundup
Three pieces of news were announced this week that inspired responses too long to be Twitter-length, but still not meaty enough to warrant their own pieces. Thus, enjoy this written roundup:
This Week in Albums
Besides The Weeknd’s My Dear Melancholy — which I wrote about here — it’s been a subpar week in music. As always, the following albums are ranked in order of my personal preference:
JOURNEY’S END (Saul Dibb)
R.C. Sherriff’s 1928 play Journey’s End is to the stage what the 1930 film All Quiet on the Western Front is to the screen.
THE PARTY (Sally Potter)
Even though The Party isn’t technically based on a play, this new movie exhibits both the best and worst attributes of stage-to-screen adaptations.
7 DAYS IN ENTEBBE (José Padilha)
7 Days in Entebbe is to political thrillers what fellow 2018 releases 12 Strong is to war movies and what Den of Thieves is to cops-and-robbers yarns.
Who You Gonna Call?
Every time an artistic director at a regional theatre announces they’re stepping down — a frequent occurrence nowadays — I contemplate who I’d personally hire to fill these all-important positions.
THOROUGHBREDS (Cory Finley)
Thoroughbreds is mostly an exercise in style, but there’s some substance there too.
MY DEAR MELANCHOLY, (The Weeknd)
Most people judge an artist based on their most popular work, their claim-to-fames, their fallback style, what they excel at the most.
