What this incarnation of Judas does so well is to combine burlesque aspects with genuine emotion.
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The Pulitzer Prize for Drama was given to the writer of a fast and funny and poignant new American play that I had the good fortune to see, Between Riverside and Crazy.
Nick Jones could have fooled me -- and he did with Verité, his new comedy(?) at Lincoln Center's Claire Tow. But he didn't fool me for very long.
Sometimes things aren't quite what they seem. Walking through Washington Market Tavern's unassuming doors prepares you for a gastropub experience but what lies ahead is more akin to straight up fine dining minus the white table clothes.
Photos courtesy of Henry DiRocco/SCR.
Throughout Stephen Adly Guirgis' gripping "The Motherf**ker With The Hat", directed by Michael John Garces for ...
"Hairspray" is a musical based on the 1988 John Waters film of the same name. It takes place in Baltimore in the early 1960s and follows an overweight...
An arsenal of language is deployed in this play, making you titter until the words themselves stop meaning what they mean, becoming pause, punctuation, and, at times, punishment.
Rock is a natural on the stage, of course. And when he's delivering his lines, he's very convincing. The problem comes when Rock isn't talking.
Language has failed -- that's Guirgis's story and he's gallantly sticking to it. This modern rom-com is to be greatly admired, enjoyed and seriously pondered after the final fade-out.
In an era of discredited priests, apostasy and religious fundamentalism, what the world needs is a good old saint; miracles not required.
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