The script is not a conventional history of women’s suffrage: dramatic Jean Ann Douglass mobilizes satire, sexuality, suffering, and sarcasm.
As we grapple with building the brave new world of live theater in a Covid and post-Covid world, a few stray thoughts.
The play’s swift running give-and-take is chillingly beguiling, its myriad allusions arousing your curiosity as you consider the characters’ positions and conclusions yourself.
Taking action on even a modest number of these suggestions will undoubtedly shake up the current puerility of much of American theater criticism.
The opportunity to see the culture-changing Broadway phenomenon Hamilton on Disney Plus, sucked up all the arts oxygen over the Fourth of July weekend.
Take the poems slowly, enjoy the Cage-y silences, the concentrated words as they appear.
Today’s spirit of protest calls for risk and innovation, dissent and defiance. Our timid stages fall disgracefully short of reflecting that iconoclasm.
The Boston Theater Critics Association should take action in support of #MeToo. But this will probably be the last year I request that Israel Horovitz’s Elliot Norton Prize be withdrawn.
The Living “is about the impulse to draw back, to lie, to conceal, and to retreat versus the impulse to gather, to commune, to cooperate, to find common ground. Those two conflicting impulses seem to inform our response to every disaster.”
Those who survive the climate crisis will regard American theater’s current indifference with incredulity and disgust.