Baldwin and Buckley at Cambridge is at least the third example in six months of artists using their latest work to stage explicit self-castigations of their own past work.
Continue reading “Culpability”
Baldwin and Buckley at Cambridge is at least the third example in six months of artists using their latest work to stage explicit self-castigations of their own past work.
Continue reading “Culpability”
Shakespeare’s plays reside so firmly in the public lexicon that their famous lines elicit chuckles of recognition out of audiences.
Continue reading “Radio Everywhere”
I’m on the perennial hunt for the artistically unexpected.
Continue reading “(theatric)visions”
The Wooster Group makes an art out of wielding a minimalistic approach for maximal and maximalist effect.
Continue reading “Maximalist Minimalism”
The same joke, an ocean away:
Continue reading “The Fuccbois in the Band”
Projections are a necessary evil in the theater world.
Continue reading “Once Upon a (good?!) Projection”
When an uber fan wants to preach the gospel of Broadway, they tend to focus on the best shows Broadway has to offer.
Continue reading “Mr. Every Night”
Macbitches wrestles with the always-zeitgeisty question of whether art that depicts immorality leads to a perpetuation of that depicted immorality outside of art, for audiences and the participating artists alike.
Continue reading “Life’s A Bitch. Art’s A Bitch. Related?”
An unresearched, armchair, modern history of what I like to call the afterture, or: when the end of the plot isn’t the end of the musical.
Continue reading “Aftertures”
By definition, a production’s sound design is meant to be heard.
Continue reading “What’s That Sound (Design)”