Theater is seen as a cleansing illness that sets out to obliterate the illness we blithely accept as health.
The White Plague uses dread to shock us into empathy for ourselves, to be alarmed by the fragility of our bodies as well as the resources and ethics of the medical system.
“The body is a curious monster, no place to live in, how could anyone feel at home there? Is it possible I can ever accustom myself to this place?”
This was an enormously exciting production of Merchant of Venice, a reminder that theater can be (in fact, must be!) nervy.
Pauline Kael capitalized on counterculture snobbery, the pecking order of the oh-so enlightened.
For me, Sweat hits its riveting stride in its second half, when the pressures of the strike tests the relationships of its working class characters.
Praxis Stage picked the right time to stage a Shakespeare play about a head of state who doesn’t have anything on his mind but corruption.
For America to get back on track, “It will take inspired radical leadership, mass organizing, and citizen mobilization of the kind that we see only in America’s finest hours.”
In the spirit of Passover’s four questions, I will ask: Why this play of all plays?
Timon is a fascinating, if lumpy and bumpy, black comedy with a nihilistic sting, a lacerating parable about how the worship of gold warps individuals and society.