The playwright supplies a memorable encounter between young and old in the play’s final scene, but it is too late to compensate for the superficiality of the Pirandello-lite antics that have come before.
Is there a disconnect between artists and meaningful resistance movements?
The generally enjoyable Bedlam production of Pygmalion doesn’t quite settle for the glucose bait.
I strongly advise you to explore the wizardry of Manual Cinema — its potential is considerable.
This is yet another sentimental exercise in the mechanics of mother/daughter rapprochement
A Doll’s House, Part 2 comes off as a return to the barn — after the door has fallen off its hinges.
Despite its promising premise, Bess Wohl’s script is yet another wan exercise in genial domestic comedy.
Help sustain an endangered journalistic species — substantial critical coverage of the arts.
Peter Brook has decided to be more than a little stubbornly anti-theatrical in The Prisoner.
The moral of Jen Silverman’s yarn is straightforward enough: we are in a country where self-transformation has become an end in itself, re-invention a default response to omnipresent banality.