Review
BTC’s experiment, while not without its faults, proffers an admirable model of the sort of creative thinking that more companies should emulate when placing Shakespearean drama in a contemporary American context.
The slow tempos on the whole didn’t hurt the show. People were there to hear Madeleine Peryoux — her voice and delivery, her offbeat arrangements and particular idiosyncratic take on familiar songs.
Cormac McCarthy’s rambling but brilliant screenplay is given vigorous direction by Ridley Scott, whose elegant visual style captures the tense downward spiral of the film’s doomed characters.
Whenever you hear greeting card bromides intoned with a straight face (it’s usually in scenes set in a hospital) you know that moral fuzziness isn’t far behind.
Although Gene Yang envisions a similarity between the Boxers (once transformed into their mythological hero aspects) and modern superheroes, BOXERS & SAINTS is far from a simple good vs. evil slugfest.
Despite his weakness for overwriting, Bob Shacochis has a good and sad story to tell, and he gets through it with a degree of mastery.
With 12 YEARS A SLAVE, Steve McQueen, the brilliant British director of HUNGER and SHAME, has probably created the first masterpiece of the new black cinema.
Actors’ Shakespeare Project’s production is a fine start to the company’s tenth aniversary season and an impressive realization of its founding mission statement — for this company, story and the actor’s craft trump directorial conceits.
Book Review: Julian Assange Trades Hopes and Fears With Cyberpunks
Any book in which the fourth sentence is “The world is not sliding, but galloping into a new transnational dystopia” runs the risk of overstating its case from the get-go.
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