Bill Marx
By Bill Marx When George Bernard Shaw’s comedy Misalliance, subtitled “a debate,” premiered in 1910, critics couldn’t make heads or tails of the play. It didn’t matter if the reviewer was sympathetic to Shavian excess — the evening’s self-parodying polemics and prophetic theater-of-the-absurd trappings were too much. The production closed after 11 performances: the script,…
Given the timidity of so many American theater companies, who seem to reserve their courage for implementing new marketing schemes, reminders of what creative risk is all about serve a useful purpose. Some theater artists around the world face jail when they perform on stage. On August 22, special forces of the Belorussian police raided…
After four movie versions of Alexandre Dumas’s nineteenth-century novel, does it make any sense to make a musical out of The Three Musketeers? The film versions efficiently present the book’s mix of comic book mayhem and romance and are available on DVD and video. By Bill Marx I can’t think of any successful swashbuckling musicals,…
Some show biz flair-ups are dead debacles walking. Producers sparked a flap in Chicago recently by tossing accusations of foul play at a critic whom they claimed wrote about shows she didn’t have permission to review.
Bloggers predicted that CEO/President Josiah Spaulding Jr.’s over-the-top 1.265 million dollar retention bonus would spark inquiries into how much money goes where at the Citi Performing Arts Center (CPAC). It does not seem too much to ask, given that the state and other funders are throwing much moolah at a troubled nonprofit arts institution whose…
Revving up marketing machinery raises some uncomfortable questions: Why should donors give funds to a theater if their money is going to pay for focus groups and demographic studies rather than to support the work of artists?
The same publicity firm, Weber Shandwick, that launched the “got milk?” campaign is doing damage control for Citi Performing Arts Center and its beleaguered Chairman and CEO Josiah Spaulding, Jr. Perhaps a recent Boston Globe editorial calling for Spaulding to be replaced was the last straw. WS has sent out an image-repair “open letter” to…
When should a play be labeled dated and consigned to the junk heap of time? No playwright is safe from the charge of being called passé: one reviewer’s breath of fresh air from the past is another’s antiquated wheeze.
A certain number of people (not huge) want to read critics who take the arts seriously, who do more than tell readers what is worth spending their money on.
The Hub Review features a perceptively waspish consideration of Pauline Kael’s unhealthy influence on film reviewers, taking scathing aim at a couple of her jittery heirs, A.O. Scott of the NYTimes and Ty Burr of the Boston Globe. I particularly like Tom Garvey’s concluding paragraph: But if the Paulettes have all repudiated their maker, where’s her baleful…
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