Suzanne Weiss
From the moment Karen Finley walks onto the stage, you are drowned in a torrent of words. Alternately raving, rhapsodic – and, occasionally, calm and rational – she assaults the audience with the force of her persona. A force ...
Arthur Lazere
David Mamet's stage language has become familiar to theater and film-goers over the last quarter century. Spare, sometimes cryptic, Mamet's dialogue dances around the subtleties of human experience, the edges of realities of which the characters themselves are often ...
Gerald Rabkin
The extraordinary success of their dramatic collaborations in the 1930s has inextricably linked Kaufman and Hart as a classic tandem, like Gilbert and Sullivan or Rodgers and Hammerstein. But just as there was a Rodgers and Hart before Oklahoma!, ...
Karen Weinstein
Comedy, entertainment, but a whole lot more is served up in Big Love at the Pacific Resident Theater. This modern update of Aeschylus' The Suppliant Women shares little with the numerous other theater offerings this season which rewarm old ...
Karen Weinstein
Big River The Adventures of Huckleberry Finn (adapted from Mark Twain) Roger Miller and William Hauptman the original Broadway cast CD Big River won seven Tony Awards for ...
Harvey O'Brien
Playwright Mark O’Rowe’s lively compression of the second part of Shakespeare’s tetralogy of ‘history plays’ detailing the ascension to power of Henry V is the stage equivalent of an action movie. Stripping language and characterization right back in favor ...
Gerald Rabkin
As his fondness for magician Ricky Jay (among other things) reveals, David Mamet loves tricks and puzzles. Consider the mysterious titles of some of his best known plays: Oleanna, Speed-the-Plow, The Cryptogram. So it isn't surprising that his latest ...
Suzanne Weiss
“Fantastic!” “Fabulous!” Overexposed superlatives to be sure but consider the source. The root words “fantasy” and “fable” immediately come to mind and few authors in our time have a better way with both than Salman Rushdie. Rushdie ...
Suzanne Weiss
Hedwig rocks! Totally! So totally, in fact, that if you’re not into stage smoke, strobe lights and amplified instruments, you’d better come prepared with a pocketful of Excedrin. But the people who will be drawn to Hedwig and the ...
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 ...
