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.
Yes, The New Yorker cover pillories the superrich as they ignore the pixie proletariat at their feet. But so what?
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.