Bill Marx
Buckets of blood and handfuls of guts always look slightly ridiculous splashed and dangled around on stage, though I must admit that this is the first RICHARD III I have seen with a working chainsaw.
Author Carol Verburg covers a sinfully neglected part of Edward Gorey’s career –- the books on his art deal cursorily, if at all, with his forays into theater as a director, designer, actor, and writer
The Zeitgeist Stage Company production has made me rethink Edward Albee’s HOMELIFE to the extent that the couple, well played by Peter Brown and Christine Power, generate a loving bond that adds some welcome tension (and humor) to the revelations of free-floating anxiety and confusion.
Henrik Ibsen’s rejection of the everyday drives this compelling take on “Hedda Gabler” – the production generates a theatrical arena that is simultaneously acrobatic and surreal.
A Chekhovian dramatic fabric calls for a tough/tender gift for realism. Getting the balance right is tricky — too much reassurance veers toward easy sentimentality, while excessive punishment pushes the proceedings toward soap opera.
May is usually a so-so respite before the summer season revs up, but there’s some interesting productions popping up, including Propeller Theatre Company’s all-male versions of Shakespeare’s Richard III and The Comedy of Errors, Amy Brenneman’s autobiographical show Mouth Wide Open, and an opportunity to see J. M. Barrie take it on in the chin…
Editor Nicholas Frankel is right to argue that familiarity with Oscar Wilde’s original manuscript of The Picture of Dorian Gray deepens its vision, suggesting that the 1891 novel is a far less morally reassuring tale than readers have thought. The Picture of Dorian Gray: An Annotated, Uncensored Edition by Oscar Wilde. Edited by Nicholas Frankel.…
It is really very much of its time and place, its particular moment in history. The social revolution of the 20s, the new freedoms for “modern” women, the flapper phenomenon, and the challenges to the class structure in urban 20th century America are among the issues in this 1927 silent comedy. By Bill Marx The…
This volume of one-act plays may gather up the whiffs and dregs of Tennessee Williams’ achievement, but their flashes of brilliance are valuable reminders of an artist who kept at his craft, come hell and high water, critical as well as popular.
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