Bill Marx
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.
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.
Taylor Mac and Pirandello share the same goal: reveal the deadening vacuity at the heart of bourgeois society and the male ego.
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?
Eleanor Burgess’ The Niceties is an articulate, if structurally crabbed, expression of #blacklivesmatter anger as well as a millennial rebel yell.
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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