Theater

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Page 202
Hurt as Krapp: Reverie of remembering.

"Krapp's Last Tape' in Brooklyn

Beckett without bitterness

In 55 fleeting minutes, Samuel Beckett and John Hurt give us an icy blast of raging age with the same ferocity and velocity that Shakespeare provides in his full-length play King Lear— with one critical difference.

Carol Rocamora

Articles 3 minute read

"Bonnie & Clyde' on Broadway

Haves vs. have-nots

Unlike the original film version, the new musical Bonnie & Clyde refuses to glamorize its bank-robbing lovers. Instead it focuses on the gritty realities of the Great depression, with hummable music that evokes the 1930s.
Steve Cohen

Steve Cohen

Articles 3 minute read
Fo: Still driving the authorities crazy.

Fo's "Accidental Death of an Anarchist' at the Curio

The anarchist's alternative

Dario Fo's efforts have always irritated the authorities and delighted the public with his farcical attacks on government corruption and social injustice. His work shares much in common with David Mamet's. So why is Mamet a darling of American theater, while Fo hasn't been performed in Philadelphia since 1997? Here's my theory.

Marshall A. Ledger

Articles 5 minute read
Wilder (left) and Stutts: Bitter with the sweet.

"Noël and Gertie' at the Walnut's Independence Studio 3 (2nd review)

The anguish behind the wit

Noël and Gertie is a series of reminiscences and songs by Coward and Gertrude Lawrence, for whom Coward wrote some of his best-remembered pieces. Theirs was an unequal relationship, and Sheridan Morley's script has its pluses and minuses.
Steve Cohen

Steve Cohen

Articles 3 minute read
Stutts (left) and Wilder: Nasty meets selfish.

"Noël and Gertie' at the Walnut's Independence Studio 3 (1st review)

A case of misery loving company

Noël Coward was a celebrated English wit and dramatist. Gertrude Lawrence was a legendary star of the musical stage. By most accounts, neither of them ever bored anybody. Until now.
Jackie Schifalacqua

Jackie Schifalacqua

Articles 3 minute read
Giampetro as the coach: A working-class outlet.

"Maroons' by Iron Age Theatre

When football players wore leather helmets

The Pottsville Maroons joined the National Football League in 1926 and achieved the best won-lost record for that season but were stripped of the league championship on a technicality. Playwright Ray Saraceni has turned that technicality into a dramatic climax, aided by a cast of players who seem more like real coal miners than thespians.
Steve Cohen

Steve Cohen

Articles 4 minute read
Lloyd Owen as Warnock, Demosthenes Chrysan as Abdullah: Fragile friendships. (Photo: Richard Hubert Smith.)

"Blood and Gifts': Afghanistan's tragedy at Lincoln Center

More than you ever wanted to know about Afghanistan

J.T. Rogers wants to teach us how the U.S. got bogged down in Afghanistan. His heart's in the right place, and if you stick with Blood and Gifts to the end, your patience will be rewarded. But it's a struggle.

Carol Rocamora

Articles 5 minute read
Conallen (left), Ford: Implausible confessions.

"Gruesome Playground Injuries' by Theatre Exile

Is this what Nietzsche had in mind?

Gruesome Playground Injuries is a small play with a large theme: Nietzsche's notion that “Whatever doesn't kill me makes me stronger.” It's an edgy and ambitious two-person play that ultimately fails to live up to Theatre Exile's high production values.
Gresham Riley

Gresham Riley

Articles 5 minute read
Frings (right) with Janis Dardaris in 'The How and the Why': Beyond entertainment.

An encouraging trend: Theater for grownups

Here come the grownups, or: Theater for thinking people

Until recently Philadelphia's theater community seemed mired in edgy plays about alienated 30-somethings in dysfunctional families. But four recent productions— all intelligent, challenging, profound, even elitist— suggest an encouraging new direction.
Jim Rutter

Jim Rutter

Articles 4 minute read
Tina Benko as Desdemona: Passive no more.

The fury of today's stage heroines

He had it coming: When stage heroines fight back

Today's revived stage heroines like Medea, Lady Macbeth, Desdemona and Hedda Gabler will clearly do anything”“ even the unspeakable, including infanticide and suicide— to preserve their dignity. Apparently the image of a powerless woman is one that we simply can't tolerate today.

Carol Rocamora

Articles 6 minute read