Given the recent rise in far-right movements across the western World — Trump in America, Brexit and Theresa May in Britain, anti-Merkel forces in Germany — many left-leaning audiences seem to want art to compensate for the perceived immorality around them.
Dear Lord Novitiate is a bore.
As Academy Awards season commences, I’ll be revisiting possible contenders from the past year that I’ve missed. Since the Oscars recently announced the 15 shortlisted full-length documentaries – five of which will eventually be formally nominated – I’m beginning by catching up with those.
Continue reading “2017 Rewind: CHASING CORAL (Jeff Orlowski)”
The Keen Company’s revival of Steven Dietz’s Lonely Planet plays like a thematic mashup between Edward Albee’s Who’s Afraid of Virginia Woolf? and Samuel Beckett’s Waiting for Godot. They explore the complexly nuanced relationships between storytelling, companionship, and dealing with life’s hard truths.
Since I attended the final performance of the Public Theater’s production of Julia Cho’s Office Hour, I figured it wouldn’t behoove me to write about it, even though I think it’s one of the most vital plays of the season.
Like a true disciple of Shakespeare, Kenneth Branagh understands the crucial importance of casting every role in an ensemble with top-tier talent.
Write All Nite will not be conforming to the recent trend of every outlet in the world releasing their “Top 10 ____ of 2017” lists IN EARLY DECEMBER, for a variety of reasons.
The tongue-twister that is Quality Control’s Quality Control: Control the Streets, Vol 1 is as repetitive as its title.
Continue reading “QUALITY CONTROL: CONTROL THE STREETS, VOL. 1”
Here’s the thing about Taylor Swift:
Jaden Smith’s Syre is nepotism at its finest.
Write All Nite 