No sooner than the Broadway revival of A. R. Gurney's Sylvia closes, in which an actress plays a dog, than Mac Wellman's The Offending Gesture, opens, at the Connelly, in which not one but two actresses play dogs.
We all know about the importance of being earnest, but it's likely we all underestimate the importance of not being earnest. That importance struck me while watching Allegiance, the new musical about the Japanese-American internment camps during World War II.
Whenever performers -- such as Mary Bridget Davies in A Night With Janis Joplin, at the Lyceum -- impersonate iconic figures, they're going to be compared to the original, whether they like it or not. They certainly can't be surprised when they are.
When you sit through something as ludicrous as Williams's last play -- or so we're led to believe of a manuscript cobbled together by other peddler-meddlers -- you spend much of the time wondering whom the roiling cauldron of picked-over Williams obsessions serves.