Site-specific productions are the true double-edged swords of the theatre world.
Site-specific productions are the true double-edged swords of the theatre world.
I love finding old theatres hidden amongst the concrete buildings – and often in them, usually down dusty hallways and up gorgeous flights of stairs (or vice versa) – that comprise the jungle of New York City.
Besides AAAAAAAll the obvious reasons, I’m so looking forward to Springsteen on Broadway because I’ll finally be able to read my beloved theatre critics writing about the Boss.
Continue reading “IT ME”
My main problem with criticism today, both formal and informal, can be summarized in the phrase: “the selfish audience.”
Continue reading “All The World’s a Stage, and All the Men and Women Merely Selfish Audiences”
In the endearingly-enigmatic climactic scene of Jim Jarmusch’s brilliantly-weird and weirdly-brilliant Paterson, a mysterious yet undeniably-wise member of the literati proclaims, “Hearing poetry translated is like taking a shower wearing a raincoat.” When the camera flashes to the opened book on his lap, the page contains a poem in both its original language and the reader’s native tongue.
Continue reading “GOD OF VENGEANCE & RHINOCEROS at the New Yiddish Rep”
If you’re looking for a normal review of last season’s Yen at MCC Theater, then keep looking.
Martín Zimmerman’s On the Exhale at the Roundabout Theatre Company was a 60-minute masterclass in non-polemical and thus effective theatrical activism, anchored by the best performance of last season by Marin Ireland and the ingenious direction of Leigh Silverman.
Continue reading “ON THE EXHALE at The Roundabout Theatre Company”
Will Eno is this generation’s Samuel Beckett, isn’t he?
Erica Schmidt’s All the Fine Boys at the New Group Theatre chronicled how systematic patriarchy first destructively subsumes and dictates the worldviews of two girls too young to know any better.
Very few other playwrights so evocatively plumb the plights of modern women as Penelope Skinner.