Bill Marx
Help sustain an endangered journalistic species — substantial critical coverage of the arts.
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Peter Brook has decided to be more than a little stubbornly anti-theatrical in The Prisoner.
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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.
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The Peculiar Patriot may say it is about making us feel the human price of mass incarceration in America, but there is more than a little True Romance in the mix.
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Taylor Mac and Pirandello share the same goal: reveal the deadening vacuity at the heart of bourgeois society and the male ego.
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The old questions, good as they are, are going to be augmented with new ones: Are we creating a world worth living in? Are we creating a world we can continue to live in?
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Eleanor Burgess’ The Niceties is an articulate, if structurally crabbed, expression of #blacklivesmatter anger as well as a millennial rebel yell.
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The Beau Jest Moving Theater staging succeeds at conjuring up the genially comic spirit of the late Larry Coen, a bounteously talented actor and director.
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In what ways are the arts themselves (and our understanding of them) being shaped to serve the ethos of corporate profit-making?
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Cultural Commentary: “The New Yorker” and The Fat Cats — Teaming Up
Yes, The New Yorker cover pillories the superrich as they ignore the pixie proletariat at their feet. But so what?
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