Robert Israel
Despite some missteps and miscasting bumps along the way, this staging faithfully captures playwright August Wilson’s searing poetic vision.
“Samuel Beckett’s work speaks to me because he’s a very visceral writer. And, because I have training as a clown, I think of him as a natural clown.”
Steve Stern’s novel about the Jewish expressionist painter Chaim Soutine is more informative than it is engaging.
Many have surrendered to Joy Harjo’s undeniable shamanistic charms and classify her as a national treasure.
Madeleine George’s uneven 90-minte one-act comedy/drama borrows heavily on Greek mythology to zip up the misadventures of a cluster of suburban women in New Jersey,
“A lot of censorship in America has to do with the impulse to shut down what women have to say, literally hanging and burning them as witches to shut them up.”
In the process of exploring the ideas that shaped Lorraine Hansberry’s understanding of her art and the world, the volume confirms the writer’s relevance during these troubled but potentially transformative times.
The current rage for inserting the personal/confessional in everything from cookbooks to literary criticism can go too far.
A singular muscularity infuses these short stories, a confidence that astonishes.
Children Under Fire examines gun violence in America, focusing on how it is threatening our nation’s children.
Stage Commentary: Where’s the Fire? Boston Theater’s Cautious Return to Relevance