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Gluck (left), St. Clair: Two women, one balcony.

Curio Theatre’s lesbian ‘Romeo and Juliet’

When gender is irrelevant

Everyone producing Shakespeare these days is adapting the Bard somehow. So why not a lesbian Romeo and Juliet? The tension of the gender swap grips the experienced theatergoer throughout the performance.
Alaina Johns

Alaina Johns

Articles 4 minute read
Have you ever seen a nose walking?

The Met’s ‘The Nose’ in HD Live

The exuberant heyday of Russia’s avant-garde

From Gogol to Shostakovich to the South African director William Kentridge, the absurdist tale of a disembodied nose has survived as a refreshing reminder that laughter is the most effective antidote for government oppression, censorship and pomposity.
AJ Sabatini

AJ Sabatini

Articles 4 minute read
Taylor back in the day: The spirit endures. (Photo: Tom Caravalgia.)

Paul Taylor Dance Company at Annenberg

Still growing at 83

For 60 years Paul Taylor has created choreography that often deals with controversial themes and ideas. But he’s still evolving, as last weekend’s retrospective program demonstrated.
Gary L. Day

Gary L. Day

Articles 3 minute read
Tom Hulce as Mozart in ‘Amadeus’: In real life, not all that exciting.

Julian Rushton’s ‘Mozart’

The astonishing truth about Mozart

Mozart was a genius, but he was hardly the womanizer and spendthrift of popular mythology. His immense musical talent aside, Mozart was a pretty ordinary guy.

Michael Lawrence

Articles 4 minute read
This assassination is videotaped.

Donmar’s ‘Julius Caesar’ in Brooklyn

Friends, Romans— and women, too

Phyllida Lloyd’s ingenious production of Julius Caesar stages Shakespeare’s classic in a women’s prison with an all-female cast. This audacious concept reveals the play’s relevance to what’s happening in our turbulent political world today.

Carol Rocamora

Articles 5 minute read
Vivien Leigh in GWTW:  Tara looks real, but...

Dante Ferretti’s film designs at MoMA

He turns cardboard into dreams

Production designers are the unsung heroes of film. The script and director may be brilliant, but at the end of the day, the audience must be able to accept that a plaster and cardboard set is the real thing.

Andrew Mangravite

Articles 3 minute read
Look who was in the screening room.

Ben Urwand’s ‘The Collaboration’

Hitler and Hollywood: Six degrees of separation

I’ve just finished reading a remarkable book— and all sorts of links started coming into my mind. It's the story of Hollywood’s obscene collaboration with Germany in the 1930s— one in a chain of collaborations from the Armenian genocide to the Holocaust.

Andrew Kevorkian

Articles 5 minute read
O’Reilly as Captain Jack: A fate he deserves?

Irish Rep’s ‘Juno and the Paycock’ in New York

The boil on the Boyles

The seductive Sean O’Casey masterpiece, Juno and the Paycock, runs the gamut from hilarity to heartbreak in a milieu constricted by both financial and emotional poverty, as well as suppressed rage at the insignificance of Irish lives as filtered through church-influenced godly standards of purity.
Myra Chanin

Myra Chanin

Articles 3 minute read
Bullock: Trauma? What trauma?

Alfonso Cuarón’s ‘Gravity’ (2nd review)

One very, very lonely woman

Director Alfonso Cuarón has paired the most elemental plot I’ve ever seen with visuals you must experience in the theater to believe.
Alaina Johns

Alaina Johns

Articles 3 minute read
Bernstein: Sweet interlude.

Piffaro open its ‘Tudor Season’

Across the English Channel
(and into the office)

Piffaro opened a season-long sojourn in the Tudor era with a demonstration that Henry VII may have been a better composer than a husband. Meanwhile, Piffaro’s back office provided hope of better days ahead for Philadelphia arts administration.
Tom Purdom

Tom Purdom

Articles 4 minute read