Theater
For all of its earnest interest in healing some of the great divides in American life, Other Desert Cities ends up slighting the desert spaces that lie between us.
For me, the fact that Bread and Puppet Theater has survived for 50 years is very hopeful, essentially because company members have never wavered from their principles. Imagine that. You can be radically principled and survive!
The Whistler in the Dark production does right by the gaunt power of “Vinegar Tom” — if only dramatist Caryl Churchill hadn’t served up such a tidily edifying coven of alleged sorceresses.
An adaptor has to make choices, and this theatrical version of “Invisible Man” focuses on the novel’s most straightforward narrative strand.
In this production, director Piotr Fomenko “wanted to explore whether family happiness is even possible, the fight to keep it and the fear of losing it.”
The Lyric Stage actors and pianist Catherine Stornetta do an excellent job making all of “33 Variations” intelligible and, sometimes, very funny.
When this version of Pippin hits New York, it will be a welcome alternative to the trend among many of the current Broadway musicals to demote dance elements to the background.
Nervous mainstream audiences could breathe easy, the messy cultural ruckus of the ’60s was over: it was ok to find yourself in the suburbs.
Director Guy Ben-Aharon is on a roll. Working through Israeli Stage and German Stage, he has brought together another smart, compelling foreign play (an American premiere) and a first-rate cast.
Bare bones, determinedly unhokey, and intimate, director David Cromer’s matter-of-fact approach does away with the irritatingly self-conscious fussiness that afflicts so many productions.
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