Bill Marx
By all means, explore history’s tragedies on stage — virtual or otherwise. But always keep a sharp, invigorating eye on the present’s tragedies-in-the-making.
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A valentine card is touching because it is short and sweet. A valentine play — even at 90 minutes with no intermission — wears out its affectionate welcome.
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As sure as “the crow/Makes wing to the rooky wood,” Mrs. Macbeth is going to fall tragically short when it comes to being an inspirational role model for marginalized females everywhere.
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At the very least, Ionesco’s drama about the unreality of the world should produce shudders as well as chuckles.
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A hatred of self and others sits, relatively neglected, at the center of Adam Rapp’s script.
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Shakespearean’s version of the Bard comes off as somewhat Monty Pythonesque — we are usually marching along with “Men Men Men.”
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The author’s aim is to render William Blake’s complex vision understandable to novices. It is a lucid effort, though the book presents a disappointingly conventional overview of the artist’s achievement.
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“Why read Zola now? Leaving aside sheer enjoyment of his narrative art, I’d say: because his representation of society’s impact on the individuals within it memorably depicts what it means to be a human being in the modern world.”
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Published in August of 2020, Oxford University Press’s English translation of Doctor Pascal marked the first time that Émile Zola’s 20-book Les Rougon-Macquart series was available in print under one publisher.
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Theater Commentary: Theater in a Time of Emergency? — The Same Old Same Old
Are Boston’s stage critics disengaged from reality? Or is it that they are afraid to speak up?
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