Criticizing the work of notoriously esoteric writer Mac Wellman for being too incomprehensible may sound like I’m missing the point entirely.
Continue reading “A CHRONICLE OF THE MADNESS OF SMALL WORLDS (NYTW)”
Criticizing the work of notoriously esoteric writer Mac Wellman for being too incomprehensible may sound like I’m missing the point entirely.
Continue reading “A CHRONICLE OF THE MADNESS OF SMALL WORLDS (NYTW)”
Critics almost always write about art; art is almost never about critics.
This season marks the inaugural year of Next Door at NYTW, an acronym that stands for New York Theatre Workshop. As the moniker suggests, this venerable off-Broadway institution recently opened another black-box theatre — where else — next door to their longtime hub in the East Village.
Write All Nite‘s 2018 New Year’s resolution: evaluate how marijuana is depicted in movies and theatre. For instance, I’ll praise portrayals that view smoking weed as a cognitive stimulant, and I’ll lambast those that regurgitate tired tropes about stoners. Light one up, baby!
Continue reading “Weed in Art 2018: 20TH CENTURY BLUES (Signature Center)”
And now, for some more double features:
Continue reading “Double Features! The Sequel!! (now with a triple-feature included!!!)”
Ars Nova taking over the Barrow Street Theatre is phenomenal news.
Fellowship for Performing Arts’ revival of William Nicholson’s 30-year-old, Tony Award-nominated Shadowlands — directed at a monotonously dull pace by Christa Scott-Reed at Theatre Row — is a period play that persistently plays the artificial period, not its timelessly human truth.
Continue reading “SHADOWLANDS (Fellowship for Performing Arts)”
At a time when so many curmudgeons complain that every story has already been told on the stage and screen, Birthright remains a surprisingly untapped subject. A group of horny, wealthy adolescents partying their way through an exotic foreign locale? WHERE’S MY TICKET?!
If you’re even remotely tapped into the theatre world, then you’ve already read all the much-deserved praise regarding Lila Neugebauer’s direction of the true-ensemble in Pulitzer Prize finalist Sarah DeLappe’s The Wolves, currently winding down its third (3rd!) production in New York City, this time at Lincoln Center’s off-Broadway Mitzi E. Newhouse Theater. As such, hopefully you won’t fault me for not repeating it here.
Theatres around the world should produce Jocelyn Bioh’s School Girls; Or, The African Mean Girls Play.
Continue reading “SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY (MCC)”