Bill Marx
“As a white atheist male I am told it is none of my business to deal with what‘s going on in the so-called de-colonized societies enforcing their religious laws on their citizens.” — Joshua Sobol
“What Sherwood Anderson knew and understood was the nature of inarticulate lives and what people do when they’re in the grip of strong feelings and words fail them.”
For all of its earnest interest in healing some of the great divides in American life, Other Desert Cities ends up slighting the desert spaces that lie between us.
For me, the fact that Bread and Puppet Theater has survived for 50 years is very hopeful, essentially because company members have never wavered from their principles. Imagine that. You can be radically principled and survive!
The Whistler in the Dark production does right by the gaunt power of “Vinegar Tom” — if only dramatist Caryl Churchill hadn’t served up such a tidily edifying coven of alleged sorceresses.
An adaptor has to make choices, and this theatrical version of “Invisible Man” focuses on the novel’s most straightforward narrative strand.
In this production, director Piotr Fomenko “wanted to explore whether family happiness is even possible, the fight to keep it and the fear of losing it.”
Nervous mainstream audiences could breathe easy, the messy cultural ruckus of the ’60s was over: it was ok to find yourself in the suburbs.
Bare bones, determinedly unhokey, and intimate, director David Cromer’s matter-of-fact approach does away with the irritatingly self-conscious fussiness that afflicts so many productions.
In Memphis, the risqué exhilaration of early rhythm and blues is airbrushed away, to the point that the show appears to argue that from its inception black music sold out to mainstream tastes.
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