On writing
Richard Maxwell’s February 2012 production of The Early Plays (three Eugene O’Neill one-acts) at St. Ann’s Warehouse in Brooklyn, in cooperation with The Wooster Group, seems to me baffling and unsuccessful. The plays themselves are very weak and very dated. They lack effective central themes, relying instead on the novelty (a century ago) of a … Read more
By far the best theatre I have seen in years is Krapp’s Last Tape, performed by John Hurt in a production created by the Gate Theatre in Dublin and brought to Washington, D.C., and the Brooklyn Academy of Music for a brief run in November and December of 2011. John Hurt in the Gate production … Read more
Briefly playing in New York as part of the 2011 Lincoln Center Festival, The Royal Shakespeare Company’s production of Julius Caesar is an energetic version that emphasizes mise en scene rather than the text, and thus emphasizes the outsize political consequences of political power struggles. Personally, I prefer emphasis on language to spectacle, but spectacle … Read more
I found this quirky comedy quite entertaining. Tied to a Chair tells a story about how relentlessly an actor can pursue artistic fulfillment, or maybe just a job. The film follows the opening adventures of a middle aged woman responding to a mid-life crisis. Naomi, who gave up hopes of a theatre career to marry … Read more
The fine reviewer for The Village Voice, J. Hoberman, sees Octubre as an “exploration of a potentially redemptive male midlife crisis.” There is something to this view, of course. Surely many people have found themselves one day at the dining room table wondering how they ended up in a family accreted by the addition of … Read more
In her recently published Why Translation Matters, one of our finest translators, Edith Grossman, expands her three Yale talks to provide a fascinating look at her theory and praxis, while scolding the publishing world. My full review of Why Translation Matters is available at Cerise Press. Cerise Press is one of my favorite on-line publishers … Read more
Mitch Giannunzio’s one-woman play, Lizzie Borden at Eight O’Clock, is about to finish its March-April 2011 run at the WorkShop Theater Company in Manhattan. The conceit of the play is that a few years after her acquittal for the infamous hatchet murders of her father and her step-mother, and after suffering the gossip and shunning … Read more
Kings: The Siege of Troy, an adaptation by Jim Milton of Christopher Logue’s wonderful poem entitled Kings, is ending its run this week (March 2011) at Manhattan’s Workshop Theatre. Handcart Ensemble, Verse Theater Manhattan, and WorkShop Theatre Company collaborated in this production, not that I know exactly what role each played. This was a fine, … Read more
If there is a good reason for America’s continuing war in Afghanistan, I have not yet heard it. On the other hand, there are several bad reasons to continue the war, enough to assure us that it will go on. The British have already figured out that the wars in Iraq and Afghanistan were blunders, … Read more
I expected to like Mike Leigh’s Another Year more than I did, my expectations raised in part because it is small scale and character-driven, because director Mike Leigh is a good filmmaker, and because some critics (e.g. A.O. Scott and Liam Lacey) report that the film has a serious central theme, happiness. But despite its … Read more