Diane Paulus
Women are the dominant force in “Amaluna.” They command the evening’s whirligig of a stage as aerialists, clowns, musicians, dancers, and contortionists.
Is it the Bard or a magic show? The prestidigitation wins out given the wanness of the dramatic proceedings.
“Witness Uganda” is a quintessential American musical — a work of cultural tourism that condemns cultural tourism.
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.
A.R.T artistic director Diane Paulus, entrepreneur extraordinaire, seems to have plucked impulse for character and meandering plot from a watered (down) idea of The Tempest.
Bare chested and sweating up a storm, singer Gavin Creel as Prometheus makes for a rock rebel with lots of snarly attitude, defying Zeus’s tyranny by flexing his abs.
An exciting month, and that isn’t hyperbole. A couple of North American premieres: a futuristic opera from MIT’s Tod Machover and poet Robert Pinsky and a drama tweaking The New Testament from Howard Brenton. Toss in iconic director Peter Brook staging Beckett, F. Murray Abraham as Shylock, and Car Talk:The Musical and you are talking about taking out the smelling salts
By Bill Marx After four years in the position, Louise Kennedy is leaving her post as theater critic for the Boston Globe to work on a book project. I wish her well: she’s had to persevere as the position becomes the afterthought of a Tweet. Perhaps she sees the handwriting on the printer’s wall. Her…
Film Commentary: “Cuckoo’s Nest” in the Age of Trump — Viewer Beware!