Bill Marx
“Clybourne Park” was expressly written to be in conversation with Lorraine Hansberry’s “A Raisin in the Sun.” The former gives us a new perspective — actually new perspectives — on the latter.
Unlike fellow apostate (and friend) Herman Melville, Nathaniel Hawthorne didn’t have the chutzpah to be a proto-existentialist — for him, it was better to cling to questionable moral pieties than plummet into sheer nothingness.
“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.”
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