Gerald Rabkin
In 1991, Dramaten, the Royal Dramatic Theatre of Sweden, brought to the Brooklyn Academy of Music a version of Ibsen's A Doll's House, directed by Ingmar Bergman that was revelatory. It was as though a giant theatrical handduster had ...
Gerald Rabkin
"In my end," wrote T.S. Eliot in Four Quartets, "is my beginning." Lanford Wilson's latest play, Book of Days, receiving its New York premiere as part of the Signature Theatre's season devoted to his plays, confirms this aphorism by ...
Gerald Rabkin
In this year of the centenary of Richard Rodgers' birth, it has been commonplace to observe the divided consciousness of his musical achievement, a division rooted in the radically different sensibilities of his two major collaborators, Lorenz Hart and ...
Harvey O'Brien
Sandwiched between The Gigli Concert and Bailegangaire, Tom Murphy’s Conversations on a Homecoming was first produced in 1985. Taking place in the West of Ireland in the early 1970s, it is a reflection on the ideals and idealism of ...
Harvey O'Brien
If the rapid-fire, razor-sharp, razzle-dazzle spectacle of Steppenwolf’s production of Glengarry Glen Ross was the highlight of the Dublin Theatre Festival for some, they might have done well to see the unfolding of the desperate, on-the-edge lives of a ...
Harvey O'Brien
Marina Carr’s Ariel is a play which is clearly grappling with several major issues. In attempting to negotiate a space between an Irish ‘classical’ tradition and an ancient Greek one, and in trying to incorporate the not incompatible concerns ...
Gerald Rabkin
Happy Days: The Production Notebook of Samuel Beckett The Cherry Lane Theatre, an intimate little playhouse located at the elbow of an eccentric street in Greenwich Village, has for three-quarters of a century since its founding by Edna St. ...
Arthur Lazere
Deserving winner of the 2001 Tony Award for Best Play, Edward Albee's The Goat is unquestionably the most mesmerizing theatrical experience on Broadway at the time of this writing. With dialogue that crackles like none since Who's Afraid of ...
Gerald Rabkin
It's Lanford Wilson's turn to be rediscovered. Like his great precursors, Tennessee Williams and Arthur Miller, his dramatic reputation rests on a substantial body of early work followed by a long period of diminished and unheralded productivity. Wilson was ...
Suzanne Weiss
A circus always is fun and John Guare’s The House of Blue Leaves, newly opened at Berkeley Rep, is a three-ring lollapalooza. You’ve got your hero, Artie (Jarion Monroe), a wannabe songwriter who feeds the animals at the zoo ...
