Theater

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Page 191
Pacino: Willy Loman, with profanity.

"Glengarry Glen Ross' in NY revival

The rat race, from Miller to Mamet

The current superb revival of David Mamet's Glengarry Glen Ross raises a curious question: Has nothing changed in American business ethics since Arthur Miller's Death of a Salesman?

Carol Rocamora

Articles 6 minute read
Howet, Scofield: When does the clash of ideas start?

"Freud's Last Session' at the Arden (2nd review)

From World War II to Newtown

The last thing you might expect from an encounter between the founder of psychoanalysis and a great Christian apologist is a snore. Freud's Last Session. By Mark St. Germain; Ian Merrill Peakes directed. Through December 23, 2012 at the Arden Theater's Arcadia Stage, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.

Marshall A. Ledger

Articles 3 minute read
Dirden, Chuck Cooper: Identity in song.

Wilson's "Piano Lesson' in New York

The black man's secret (that Willy Loman lacked)

Here is the essential recurring conflict in August Wilson's 20th Century cycle: the struggle of African-Americans to define themselves while at the same time bringing the past forward with dignity. Music, it turns out, plays a pivotal role.

Carol Rocamora

Articles 4 minute read
Walter as Birdboot: Three critics at one paper!

Stoppard's "Real Inspector Hound,' at Curio

A critic's lot is not a happy one

Unlike Rosencrantz and Guildenstern, Tom Stoppard's The Real Inspector Hound is pure farce. This time it's theater critics who get caught in his existential web.
Jake Blumgart

Jake Blumgart

Articles 3 minute read
Thompson as Armstrong: Bitter at Ike, grateful to the Mafia.

Teachout's "Satchmo at the Waldorf'

Happy on the outside, but….

The Louis Armstrong I met in 1953 was healthy, energetic and genial; the dying Satchmo we meet in Terry Teachout's one-man play is exhausted and bitter. The contrast is instructive.
Steve Cohen

Steve Cohen

Articles 3 minute read
LuPone (left) Winger: Not their fault.  (Photo: Sara Krulwich/ New York Times.)

Mamet's "The Anarchist' and its audience

Bring out the vegetables

David Mamet's turgid The Anarchist opened to deservedly negative reviews and will close soon. But why are Broadway audiences so meek about expressing their reactions when they're served a turkey?
David Woods

David Woods

Articles 3 minute read
Can you tell the actors from the audience?

Van Hove shakes up Shakespeare

Friends, Romans, countrymen, lend me your iPhones

If you want to explore new frontiers in the theater world just follow the Dutch director Ivo van Hove wherever he goes. In his hands, all of our cherished theatrical conventions are suddenly rendered anachronistic.

Carol Rocamora

Articles 6 minute read
Manstsai, Cronje: Trapped in a pressure cooker.

"Mies Julie' in Brooklyn

Move Strindberg to South Africa, and what do you get?

Yael Farber's inspired but shattering metaphor for the struggles of modern South Africa is the most violent, sexually explicit and contextually insightful play I've seen in a long time.

Carol Rocamora

Articles 5 minute read
Billy Magnussen, Sigourney Weaver: A softer (albeit still manic) Durang.

Durang's "Vanya and Sonia"¦.' in New York (2nd review)

A Chekhovian lament for our times

Christopher Durang's blender version of Chekhov's plays may go down in theater history, alongside the Bard mash-ups by the Reduced Shakespeare Company, as one of the funniest send-ups of the classics ever.

Carol Rocamora

Articles 4 minute read
Weaver and Durang (above) may be enjoying themselves, but what about me?

Durang's "Vanya and Sonia"¦.' in New York (1st review)

Talk about roads not taken!

The good news is: I scored a ticket to Christopher Durang's sold-out comedy at Lincoln Center. The bad news is: In the evening of my life, I squandered a beautiful fall day when I could have been outdoors walking my dog or riding my horse.

Jane Biberman

Articles 5 minute read