Theater
In this fiction and plays, Thomas Bernhard creates fascinatingly repugnant monsters, black holes of egotism that are symptomatic of our spiritual and moral myopia.
Among the most haunting aspects of Roman Polanski’s 1971 film version of Macbeth is his visceral depiction of the tragedy’s violence.
Horton Foote’s dialogue often dances on the edge of sentimentality, but, because of these performers, moments that might be sappy are instead deeply moving.
The Old Man and The Old Moon is pleasing, but just how theatrically satisfying it is depends on the appeal of ‘magical’ folktales, the kind where anything goes.
Brooke Adams portrays Winnie as the ultimate smiley face; her husband, Tony Shalhoub, is little more than another prop weathering her on-going babble.
The Real Thing’s discussion of linguistic precision may be telling now in ways that dramatist Tom Stoppard may not have anticipated.
In this production, intractable conflicts occasionally bubble to the surface, but too often they are buried beneath family squabbling.
To its considerable credit, Make My Heart Flutter is more existential, literary, and weird than most American comedies.
Crack is too complex and nuanced to be reduced to an anti-psychiatric tract.
Self-production, I think, is for artists who also are entrepreneurs who have a burning desire to get their voice heard.
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