Plays are good.
What is JG shouting in this scene of his new play, If There Is I Haven’t Found It Yet?
Um, do you really need to ask?
“We are NEVER EVER EVER getting back together!!
You go talk to your friends talk to my friends talk to me…
But we are NEVER EVER EVER EVER getting back together!”
This is exhausting.
1. “Can we take a look at the old theater?” My friend and I were in downtown Detroit and had ventured into the lobby of something called the Michigan building. Visitors to town, we were unsure what kind of cajoling would be needed to let us into the crumbling theater that we’d heard was hidden […]
The Mark Hellinger is the most beautiful theater on Broadway. It hasn’t housed a show since 1989. Sadness of sadnesses—I know. Despite this shockingly gorgeous interior… …despite this intricately designed and perfectly executed ornamentation… …despite this tremendously preserved craftsmanship… …despite all of this, the Mark Hellinger sees no dancing feet, no 11 o’clock numbers, no matinee […]
“Cruel” is not a word usually liked to Our Town, that glorious, perfect play of the everyday and the cosmic. But it’s highly appropriate in the case of the Huntington Theatre’s current production, a revamp of David Cromer’s devastating, super successful staging previously seen in Chicago, New York, and L.A. Playwright Thornton Wilder’s contention is that […]
Trendsetting alert! Seminar is the latest straight play to employ a scenic device popular around town these days: The Dramatic, End-of-Play Set Change. A DEOPSC (as it is popularly known) occurs at a climactic storytelling moment when a formerly unchanging set disappears or unexpectedly moves, thus expensively symbolizing Momentous Change and Revelation. In Seminar, the DEOPSC […]
Soho Rep’s star-laden staging of Uncle Vanya is already sold out—sorry, guys—so this edition of “Favorite Moment” will have to take the place of actual theatergoing for you ticketless chumps out there. Towards the end of the play’s second act, step-relations Yelena (Maria Dizzia) and Sonya (Merritt Weaver) reconnect after years of detachment and mistrust. […]
Winning two Tony Awards apparently isn’t enough to warrant above-the-title billing in movies these days. The wonderful Christine Ebersole is the only person on The Big Wedding poster not to be named… even someone named Ben Barnes (?!) gets himself up there. Look at her, sadly watching from the corner… Ever the underdog, Ye Old Theatre…
Sometimes, dead silence is the loudest applause. Indeed, the best moments in theatergoing—staggering moments, spine-tingling moments—often cast a heavy, suspended quiet, not a clappy rumble. There sits the audience, overwhelmed and totally involved, the noisy slapping of hands the last of its concerns. Such an earned, weighted silence came towards the end of Christopher Durang’s Vanya […]
The Guggenheim recently closed a fun retrospective of the Italian artist Maurizio Cattelan. In it, hundreds of odd sculptural items hung from the museum’s ceiling at varying heights, gradually revealing themselves on the trek up the Guggenheim’s classic spiral ramp. From the child-size Hitler to the fake pigeons and animal skeletons, it was a kooky, […]
Yes, I enjoy entering Times Square at the “Katharine McPhee Subway Entrance” on 43rd, and yes, I quietly moan “Let Me Be Your Star” each time I ascend those steps. Not weird at all. Right?
Putting history onstage comes with perks and pitfalls. If the person or event depicted is beloved, he/she/it comes with a built-in sense of affection; audiences already know they like what they’re about to see. But such storytelling isn’t without hazards. Representing true tales situates everything under a harsher magnifying glass, and storytelling choices can irk […]
... Any thoughts?... C'mon!