Three Journeymen
And one key woman, too
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Papa Crass
Tears get in the way of the good vibes.
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Family Ties
Two stagings that could use a lighter touch.
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Robert Ashley takes off.
"DO YOu believe in life after love?" asked Cher in her 1999 dance hit "Believe," the track that made Cher, then 53, the oldest female ever to have a chart-topping song. Robert Ashley, a pillar of the avant-garde community for over half a century, may be able to offer some insight into this mystery of
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Artist Lovers
Creative lust, lost on stage
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Pitchers and Catchers: Chalk gender lines.
Last summer, when former Mets manager Bobby Valentine declared in Details that major league baseball is "probably ready for an openly gay player," sports writers, gossip columnists, fans and baseball players everywhere toaok to the airwaves and the internet, terribly titillated at the mere suggestion that baseball was mature enough to handle a gay man
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Parade of Friends: A funny, self-conscious take on the gay play.
"Who needs another gay play?" queries a jaded thirtysomething in The Last Sunday in June, Jonathan Tolins’ new play, which opened last month at the Rattlestick Theater. It’s a question without a clear answer, but one that audiences may justifiably ask. By "gay play," the character is referring to a specific genre of theater in
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Overwhelming Convention: Two LAByrinth productions are re-staged; an early McGuinness fails.
Waiting for the light to change at Broadway and 18th, the other night, I eavesdropped on a couple of guys who, like me, had just come from seeing Stephen Adly Guirgis’ Our Lady of 121st Street at the Union Square Theater. They were talking about the unconventional relationship between the set and the action of
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Other Realities: Two approaches to Shakespeare. One works, one doesn’t.
A pair of surgical gloves and a baby buggy got me thinking, recently, about what we can and can’t be expected to believe in when it comes to staging Shakespeare. The occasion was the Classic Stage Company production of The Winter’s Tale, directed by Barry Edelstein. The surgical gloves figured in the scene where Hermione’s
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Twelfth Night/Uncle Vanya
It would be hard to imagine a Twelfth Night more sublime than the one currently playing at the Brooklyn Academy of Music. Quiet, elegant, lush, mysterious and romantic, it features Emily Watson as Viola and Simon Russell Beale as Malvolio and—like the production of Uncle Vanya with which it runs in rep through March 9—was
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