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Director Gus Kikkonen and cast come up with a bright, literate presentation of William Shakespeare’s play “Measure for Measure,” a potentially dark comedy pregnant with power.
Trapped in a cluttered set meant to evoke an abandoned nightclub (with old, upside-down flowerpots? why?), the cast of TEN CENTS A DANCE do little but wander about singing strangely uninspired arrangements of some of America’s best-known songs.
THE FUTURE, director/actor Miranda July’s followup to 2005’s ME AND YOU AND EVERYONE WE KNOW is brave, unexpectedly poignant and devastatingly sad.
Originally published in 1963, and today considered by some critics a landmark in twentieth century Italian literature, in English Luigi Meneghello’s memoir feels more like a duty than a delight to read.
What I do suspect though, and find evidence for in BLOODLUST is that Freud is immune to any final dispatch or disproof, and will likely, through one portal or another, go on reinserting himself into our culture.
A fascinating adaptation, well worth the trip to out-of-the-way Chester, MA, TURN OF THE SCREW is never less than interesting and often all-absorbing — especially when actress Allison McLemore lets loose.
On bad days, I tell people that as far as I’m concerned, New York museums can all go to hell until one of them gives more substantial attention to Fairfield Porter as well as to give a solo show to Jane Freilicher.
“The main idea I’ve been working with is what I call the longevity revolution.” — Theodore Roszak
QUEEN TO PLAY is an offbeat feminist fable, set in a gorgeous but dirt-poor and provincial part of Corsica.
Book Review: Violence, a la the Freudian and Biblical canon
Short Fuse thinks Russell Jacoby’s “Bloodlust: On the Roots of Violence from Cain and Abel to the Present” is an unconvincing mix of refurbished Freudianism and Genesis.
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