Three Journeymen
And one key woman, too
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Author Archive
Family Ties
Two stagings that could use a lighter touch.
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Artist Lovers
Creative lust, lost on stage
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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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La Boheme; Movin’ Out
Movin’ OutDirected by Twyla Tharp For Pete’s sake, why all the fuss about the Baz Luhrmann La Boheme! You’d think that no one had ever thought of updating classical opera before, or casting "realistically" trim and youthful romantic leads. The production, currently at the Broadway Theater, which brings the action forward to the 1950s, opened
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The Duplex
I went to see a $4500-a-month apartment last week–a one-bedroom in The Century. There was a two-bedroom being shown that day as well, by a broker from Halstead. An open house. That one was going for $5950. I thought of sticking my head in, but I decided $4500 a month was my outside limit. The
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Oklahoma!, Oh No
There’s a bright golden haze on the medder–and on just about everything else in Trevor Nunn’s revival of Oklahoma!–but it’s the hard, cold glint of lucre, not the burnished glow of rebirth and renewal. This long-awaited production, which was hailed, when it opened four years ago at London’s Royal National Theatre, as a wholesale rethinking
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Junk Geniuses
I came straight home from The Dazzle, Richard Greenberg’s three-character play about the Collyer Brothers (at the Gramercy Theater through May 12) and threw out all the plastic shopping bags that had been mounting up in the pantry closet. Then I went at the piles of newspapers waiting to be gone through–two in the kitchen
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