Bill Marx
David Gow’s earnest, intelligent drama about the fragility of identity, though somewhat glibly reassuring, generates powerful moments in this bare-bones production from the Acropolis Stage Company.
But this is an American musical, so political content (and blame for the way things are) must be kept fuzzy, a strategically-calculated myopia.
In this always compelling production, director Carey Perloff decided to bring the uncanny on stage, almost as a sixth character, in the form of composer/musician David Coulter.
“There’s a giant chip on the shoulder of those who love musics of the world when it comes to klezmer.”
This funding means that The Arts Fuse will be cranking out the kind of arts coverage you have come to expect for a good time to come.
The media big boys should be part of the discussion, if only because they have the resources to change the situation for the better.
“ignorance about those who have disappeared/ undermines the reality of the world.” — Zbigniew Herbert
Mainstream environmentalism is not just serious and sanctimonious, it also happens to be very white and very heteronormative.
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.
Cultural Commentary: Arts Criticism — An Embarrassment of Whiteness
Can anyone — with a straight face — argue that our largely white critical contingent in Boston is interested in generating hard hitting debate, controversy, and unconventional ideas?
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