If you have something to say...
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If you have something to say...
Say it on the Huffington Post
For Ionesco politics lie, art, true art, cannot lie. "Politics separate men by bringing them together only superficially. Art and culture unite us in a common anguish that is our only possible fraternity, that of our existential and metaphysical community."
With the exception of Mohamed Bouazizi, the Tunisian fruit vendor who set himself on fire and thus sparked what became known as the Arab Spring, self-immolation has by all accounts become a failed form of protest as an agent of change.
Byrne has joined with the Public's Oskar Eustis and an altogether impressive production team to turn Here Lies Love into -- what? A musical? A disco musical? A theatrical extravaganza? All three jumbled together.
The genius of Chuck Smith is throughout this production. His passion is loud. It is crafted with love, and the depiction is great as the story unfolds. The set design is masterful as it uses multimedia to realize the story.
It is a reasonably warm night in Brooklyn as I sit in a church pew in Brooklyn's Standard ToyKraft listening to Cara Francis remind us that theatre, like war, is often bad, and there are very few of each considered universally good.
Isadora Duncan invented an open-hearted, graceful form of dance. Her work was so beautiful that it radiated a shocking yet lyrical urgency -- and it forever opened the world to the possibilities of physical, musical expression by the human body.
The sight of two men in giant clown shoes and oversized pants shuffling on a commuter platform lingers in the mind. From the Signature Theater's produ...
For 90 minutes, audiences revel in the talented Midler recreating this force of nature, deliciously dish without ever leaving her couch, in Scott Pask's beautifully apportioned set. Such is her charm, even profanity sounds profound.
I keep expecting to get jaded. Even though the actuarial tables tell me that I'm more than halfway through my life, I can still be a teenaged drama cl...
"The clock is ticking," is not necessarily a phrase a feminist writer likes to hear, but when discussing the upcoming production of 'night, Mother, an exception can be made. In this case, the aforementioned clocks are not those of a woman's biology but of actual time, counting down to the death of one of the women onstage.
Walt Disney is making his off-Broadway debut. He's a character in Lucas Hnath's intriguing new play, A Public Reading of an Unproduced Screenplay about the Death of Walt Disney, currently in previews at Soho Rep.
Nikolai and the Others, Richard Nelson's ambitious new offering at Lincoln Center, is basically a history play that aspires to shed philosophical light on the relationship between Art and politics and the plight of the Artist in Exile. As history, it is fascinating and engaging; as philosophy, it's not clear exactly what he wants to say.
Imagine you're vacationing in a seaside hotel in Cornwall and casually pick up a dusty volume of plays in the library. That's the feeling of This Side of Neverland, now at the Pearl Theater.
Be warned: I'm about to tell you a cock and bull story. Well, at least the story is about two Mike Bartlett plays called Cock and Bull, the latter of which is currently playing at 59E59 Theater, produced with Sheffield Theatres as part of their Brits Off Broadway series.
If you know one thing about a man named J. M. Barrie, you most likely know that he is responsible for a story named after its most famous character: Peter Pan, or The Boy Who Wouldn't Grow Up.
I've adapted classic plays, novels and trial transcripts, but a comic strip? How do you create 3-D movement from a 2-D world?
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