Bill Marx
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.
Larry Coen directs “Chinglish”’s awkwardly written romance with a savory earnestness, but he can’t put the pieces of the fragmented script (you laugh/you cry) together.
By Bill Marx Arts Fuse: Tell me how Leeches came about, given how different it is from your other books, at least those in translation. David Albahari: It is different from other books of mine. But then, there were several things that made me, in the end, write the book. First of all, I wanted…
Two warhorses of the theater come to town: Shakespeare’s “Hamlet” trots along in the Globe Theatre touring production, while “War Horse” shows off the equine puppet body beautiful.
The questions at stake are good ones and not asked very often in contemporary plays: why do some win and others lose in America? And what are the responsibilities of the haves and the have-nots?
In its program, the A.R.T. links today’s 1% with the French aristocracy, a stab at relevance that does both the snobby thugs of the French Revolution and the super well-off of today a disservice. Say what you will about the 1%, but they aren’t stupid.
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