Articles

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Strathairn as Rieger as Havel: Affirmation of something rare. (Photo: Jim Roese.)

The meaning of Havel's "Leaving' (4th review)

Art, politics and humanity: Václav Havel, in theory and practice

Some critics have attacked Vaclav Havel's Leaving for ridiculing his own heroic political career. On the contrary, Havel is deeply concerned about what it means to be human in a globalized world. Leaving is his critique of uncritical language and careless thinking that allow scoundrels to leap into the void.
AJ Sabatini

AJ Sabatini

Articles 7 minute read
Strathairn, Meisle, Leonard C. Haas: A statesman, or a politician? (Photo: Jim Roese.)

Vaclav Havel's "Leaving' at the Wilma (3rd review)

We needed you. Now leave.

Like Moses, Vaclav Havel led his people to the promised land, but it's his own fault if he couldn't follow them in. While this production soars, its valedictory message stammers— as I can attest, having lived in Prague in the wake of Havel's presidency.
Jim Rutter

Jim Rutter

Articles 5 minute read
Fleck, Hussain, Meyer: No boundaries.

Fleck, Meyer and Hussain at the Keswick

When worlds collide

At the Keswick, the astonishing musicianship of Bela Fleck, Edgar Meyer and Zakir Hussain transformed the unlikely combination of banjo, tabla, and bass into an exploration of musical possibilities.
Judy Weightman

Judy Weightman

Articles 3 minute read
Yagoda: From transubstantiation to orgasm.

Ben Yagoda's "Memoir: A History'

Everybody's doing it: On remembering your pasts

From George W. Bush to Facebook to Twitter, these days everyone is writing a memoir of some sort. Ben Yagoda catalogues the phenomenon from ancient times to the rest. But he left me wondering: Do we understand each other any better as a consequence?
Patrick D. Hazard

Patrick D. Hazard

Articles 4 minute read
There's nothing more rewarding of effort.

Utopia on earth: Choral singing

The ultimate right-brain high: Why I sing in a chorus

Does analytical thought add value to one's enjoyment of music? Dan Coren examines his experience as a choral singer in his continuing attempt to answer this baffling question.
Dan Coren

Dan Coren

Articles 6 minute read
Strathairn (r.), Kathryn Meisle: A playwright lampooning himself. (Photo: Jim Roese.)

Vaclav Havel's "Leaving' at the Wilma (2nd review)

Havel's confession of failure

Vaclav Havel's Leaving, the first play in 20 years by the playwright-president, is well served by a cast led by David Strathairn, and well produced under Jiri Zizka's energetic direction. But its importance lies less in its at-best fitful theatrical interest than as a testament of its author's profound disillusionment with his career—and with that of capitalist modernity in general.
Robert Zaller

Robert Zaller

Articles 6 minute read
Nick Dalton, Gianni Yanelli: Culture of a community.

"Fiddler On the Roof' at the Walnut

Anatevka reborn

The Walnut Street Theater's production of Fiddler on the Roof is better than any I've seen, aside from the original Broadway staging that ran from 1964 to 1972.
Steve Cohen

Steve Cohen

Articles 3 minute read
McCool, Strathairn: Entourage of bumblers. (Photo: Jim Roese.)

Vaclav Havel's "Leaving' at the Wilma (1st review)

Will the real Vaclav Havel please stand up?

Here's a play about what happens when a statesman leaves office by a statesman who did leave office. But for all the insights he might have offered in Leaving, Vaclav Havel shoots for farce rather than drama.
Steve Cohen

Steve Cohen

Articles 4 minute read
Dutoit: 'World's greatest maestro'?

Philadelphia Orchestra's Washington concert

They love him in Washington

If ever the Philadelphia Orchestra and its interim music leader Charles Dutoit need a quick morale boost, their best bet is to jump on the Acela and head south to Washington. Consider their recent all-Russian program and its frenzied reception.
Rebecca J. Ritzel

Rebecca J. Ritzel

Articles 3 minute read
E. Faye Butler as Ma: Who has the power? (Photo: Richard Anderson.)

"Ma Rainey's Black Bottom' by PTC

Bigotry and its consequences

Ma Rainey's Black Bottom uses a blues band's 1927 recording session to illuminate the self-destructive black rage engendered by centuries of white oppression. This compelling revival by Philadelphia Theatre Company demonstrates that, like all works of art, August Wilson's modern classic succeeds at several other levels as well.
Dan Rottenberg

Dan Rottenberg

Articles 4 minute read