Theater
English makes us consider what it looks like from the other side of our native tongue; from the outside looking in.
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In his virtuoso one-man show, Bill Irwin pays adroit homage to the language and vision of Samuel Beckett.
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The story has the earmarks of YA fiction: a community of dysfunctional adults contribute to the plight of alienated kids who, badgered by persecutors their own age, seek to escape their torment.
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Like a magic show where you know you’re being duped and enjoy it all the same, Reiser’s act was something you just settled back and enjoyed without analyzing it too much.
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Despite some missteps and miscasting bumps along the way, this staging faithfully captures playwright August Wilson’s searing poetic vision.
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Two stirring dramas hit Broadway, one weightier than the next
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“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.”
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An experimental drama, no matter how tantalizing, has to come up with a payoff that makes its bewildering journey worth it. Lucas Hnath’s doesn’t.
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You don’t have to be a math wiz to enjoy Lauren Gunderson’s engaging historical drama, which has been effectively staged by director Debra Wise.
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It shouldn’t be surprising that Heroes of the Fourth Turning is monotonously ironic. No happy warriors for Christ here.
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