Hot take: Playbills should be handed out at the END of a performance.
Continue reading “Postbill”
Hot take: Playbills should be handed out at the END of a performance.
Continue reading “Postbill”
Even though Honor was not produced by The Wooster Group, the production answered an age-old question for my fellow Wooster faithful:
Continue reading “Cannot Sit Back, Cannot Relax, Cannot Enjoy”
Ceilidh utilizes an early twist to set up the audience for the emotional gut punch that is the climactic second twist.
Continue reading “Do the Twists”
The vast majority of subtitled productions project the translated text line by line onto screens around the stage/house.
Continue reading “Substitution”
The ending of Richard Nelson’s When the Hurlyburly’s Done is proof positive of how applying auteur theory can alter analysis of the auteur’s individual works.
Continue reading “When the Battle’s Fought and Fought”
My incontrovertibly, irrefutably, undeniably, objectively correct Mount Rushmore of ABBA bangers:
Continue reading “Mount ABBA”
The New York Times’ review of The Brothers Size bumps up against the porous border between objective journalism and subjective interpretation.
Continue reading “Size Up”
If an artist benefits from making art about an underrepresented group, should said artist try to use the rest of their career to benefit said group?
Continue reading “Take a Dink”
On November 11, 2024, some dopey website by the name of Write All Nite — by the even dopier Steven Strauss — proclaimed this prediction:
Continue reading “Told You So”
Too many movie theaters bring up the lights as soon as the closing credits start, even if there’s still an image on screen.
Continue reading “Let There Be No Light “