Bill Marx
“Leopoldstadt” is one of Tom Stoppard’s most heartfelt and expansive works, its poignant storyline inspired by events in his own life.
Cinematic in inspiration, Diane Paulus’s direction whips up terse bursts of adolescent energy, tapping into a cocky hunger for self-destructive combat.
“It’s not just some generic ‘evil’ “The Arsonists” protests, it is willful blindness to fascist and authoritarian agendas. Denial and hiding behind “bourgeois” comfort is the theme.”
A translator must meet a compelling need — to reinvent Franz Kafka’s voice in an English that resounds in the present moment.
A relaxed, humane kindness shines through this staging of Shakespeare’s hymn to reconciliation.
The Lyric Stage Company’s production of David Henry Hwang’s Obie award-winning play is serviceably absorbing.
The script is representative of the pitfalls of current theatrical minimalism — less can so easily be less.
“We need hope in the possibility of change in order to survive what’s coming.”
If only “Becoming a Man”‘s pathos were less streamlined, its theatricality more ambitious.
Must the stage only discreetly charm the bourgeoisie?
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