Theater
A.R.T Artistic Director Diane Paulus and Jeffrey L. Page are at the helm of this well-meaning but irritating revival.
English makes us consider what it looks like from the other side of our native tongue; from the outside looking in.
In his virtuoso one-man show, Bill Irwin pays adroit homage to the language and vision of Samuel Beckett.
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.
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.
Despite some missteps and miscasting bumps along the way, this staging faithfully captures playwright August Wilson’s searing poetic vision.
Two stirring dramas hit Broadway, one weightier than the next
“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.”
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.
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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