This is a portrait, in four slices, of an American family. Not a typical American family, mind you. These are upper middle class, New York liberals: Baby Boomers dealing with life, family, death, and politics sixty years after the Boom.
Somehow I still did not believe that this goliath could close up shop and quietly slip away. It seemed time to write about Martin and his site which has served so many in the New York indie theatre community.
Hillary's is a sideshow that will be countered later. But Cruz's circus is playing now and it's being panned, not only by House Speaker John Boehner and Senate Minority Leader Mitch McConnell but by Barack Obama and top Democrats.
Dude, I can explain. In the grand tradition of the theater, "getting it" is as much of a theme as star-crossed lovers or inevitable fate. I am sorry but, Mr. Brantley, you did not get it, and I don't think you could have. The show was not for you, it was for me.
Why the F*%K do we do it? Money? Fame? Love of the process? What is it? Why do we continue to write screenplays when aside from the outrageously arduous task of getting it even remotely right, the odds of then getting it sold and then made and then becoming a hit are...well doubtful.
Two promising new plays share a lot in common. Both are set in the 1950s. Both are broadly comedic but with heart and drama just below the surface. Both are blessed with excellent casts and productions that do them justice. Both have subplots that are unnecessary. And both could be easily improved.
The Steppenwolf Theatre Company's latest Broadway revival of Edward Albee's 50-year-old masterwork, Who's Afraid of Virginia Woolf, is less a volcanic eruption than a slow, simmering pot that periodically boils over.
After seeing Treasure Island for the first time in a full stage production I was more than ever convinced that we don't need the angel Clarence from that beloved old Jimmy Stewart movie to remind us that it can be a wonderful life.
Sometimes we realized we had a ten-page scene that accomplished nothing. Other times a two page scene would be so dense it appeared to be unspeakable by Earthlings. At one point the play exceeded 200 pages.
Rogers often remarks that the plays that he's written since dating Yaklin, whom he married in an irreverent DIY ceremony in a Pennsylvania barn two years ago, have a different emotional life inspired by their relationship.