Theater
But if a dramatist butchers everything – what will can be put in its place? In the case of “M” it is nothing; nothing I can see or understand.
“By the Way, Meet Vera Stark” suggests the dismissive attitude the public has toward African American actors, but the script doesn’t go far enough to make its title character three-dimensional.
The chief glory of the Lyric Stage production: an ensemble of eight actors that agilely accents the humor dramatist Lynn Nottage utilizes to temper her examination of the darker racial and political subtexts of the period.
Bianco Amato is a marvel as Anton Chekov’s widow, Olga Knipper, who can turn her fake emotions on a ruble.
Are those who merely stand and watch as guilty as those who drop the bombs, pull the triggers, or run the trains? The question is no less relevant today than more than sixty years ago.
Director Liesl Tommy’s unflinching approach gives Lorraine Hansberry’s classic a surprising urgency more than half a century after the drama first played on Broadway.
Whether or not there’s a real lover, or whether all of this is an elaborate fantasy is beside the point. For Harold Pinter, it may all be the same thing.
“Clybourne Park” was expressly written to be in conversation with Lorraine Hansberry’s “A Raisin in the Sun.” The former gives us a new perspective — actually new perspectives — on the latter.
In Bruce Norris’ Pulitzer prize-winning play “Clybourne Park,” resentment and racism chafe at the thin veneer of polite pleasantries.
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