Review
By Caldwell Titcomb Some plays are so long that they drive people to despair. In the standard theatrical canon the palm goes to Goethe’s “Faust,” Part I of which runs 4612 lines, and Part II takes the total to 12,111 lines. Next comes Ibsen’s “Peer Gynt.” The playwright did not intend this to be staged…
Read Moreby Bill Marx The schizophrenia is instructive if somewhat dizzying. At the Calderwood Pavilion, the Huntington Theatre Company kicks off its season with “The Atheist,” a cynical exercise in scatological anti-heroism about a sleazy reporter who blackmails his way to fame. On its main stage at the Boston University Theater the HTC wallows in PG…
Read MoreBy Bill Marx The Atheist by Ronan Noone. Staged by the Huntington Theatre Company at the Calderwood Pavilion, Boston, through September 30, 2007. Machiavellian monsters aren’t what they used to be in the theater. The gloriously godless creeps that memorably rampage their way through the plays of Shakespeare, Jonson, Shaw and Brecht scale the dizzying…
Read MoreBy 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,…
Read MoreBy Bill Marx In his critically acclaimed novels and stories, Japanese writer Haruki Murakami sings of the subterranean connections between software and the supernatural. After Dark (Knopf, 191 pp, $22.95) Haruki Murakami is a hip cultural diagnostician who would like to be viewed as a melancholic poet of the postmodern condition, a writer who has…
Read MoreNot every critic is inspired by British playwright Tom Stoppard’s epic, Tony award-winning trilogy about the trials and tribulations of the 19th century Russian radical Alexander Herzen. Download the podcast By Bill Marx I had high expectations for Tom Stoppard’s labor of love, but walked away from his bloated homage to the great Russian journalist…
Read MoreThe Pogues are back and they’re ready to rock. By Ira Kantor BOSTON, Mass.– For the iconoclastic (and newly reunited) band The Pogues, the moment of truth has arrived. It’s 8:30 p.m. and Boston’s aged Orpheum Theatre has just gone dark. Cheers and applause rattle the walls. Is the worst going to happen or will…
Read MoreEdgar Degas once said that painting should be akin to committing a crime. And many Americans saw creation of some of the most important works of American art as just that—roguish, cunning and wicked—in short, criminal. Visual Shock: A History of Art Controversies in American Culture by Michael Kammen. Penguin Random House, 480 pages, $18.…
Read MoreThis is an intelligent exhibit, not just conceptually but in that it requires the viewer to actively make connections while absorbing the art.
Read MoreThose looking to expand their horizons on art and narrative should make the time for Cleophas and His Own: A North Atlantic Tragedy, a very (nearly three hours) long but equally rewarding debut from director Michael Maglaras, who also stars in the film. By Adrienne LaFrance Cleophas and His Own is the recitation of a…
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