Finding the 'new' in Shakespeare

Macbeth is dead. Now what?

The Royal Shakespeare Company is finding the “new” in Shakespeare in a variety of compelling, captivating ways. If you think you've seen it all when it comes to The Bard, you'll have many surprises in store.

Carol Rocamora

Jun 20, 2011 · Articles · 6 minute read

London theater roundup— II

London summer: Rare birds among the revivals

This is a summer of revivals in London; it's also odd how many of these productions require American accents. But some rare birds— from Odets to Mamet— brighten this revival flock even if they demonstrate clearly why they're rarely revived.

Toby Zinman

Jun 20, 2011 · Articles · 8 minute read

Black domestics on stage

You've come a long way, Mammy

Hattie McDaniel said she'd rather make $700 a week playing a maid than $7 a week being one. Today actresses like Opal Alladin enjoy the luxury of portraying maids with genuine character.

Jackie Schifalacqua

Jun 16, 2011 · Articles · 3 minute read

Two "Much Ados' in London

Shakespeare, straight and schlocky

Two delicious and hilarious productions of Much Ado About Nothing are currently playing in London: one at the Globe, where “original practices” rule, and one on the West End, where high profiles, schlock and schtick are the order of the day.

Toby Zinman

Jun 13, 2011 · Articles · 5 minute read

"Playing Leni,' by Madhouse Theater

The doyenne of denial

Playing Leni, a drama about a power-hungry filmmaker willing to walk over bodies, encourages the American audience to discover not only some of the inner workings of a Third Reich mind, but also our own.

Henrik Eger

Jun 12, 2011 · Articles · 5 minute read

Taking liberties with Chekhov

Who (did you say) wrote that play?

Why would the Royal National Theatre mount a “version” of The Cherry Orchard laced with lines Chekhov never would have written, rather than a faithful translation? What is meant by a “version,” anyway? As a Chekhov translator, I wonder: Who would hang a "version" of Monet?

Carol Rocamora

Jun 06, 2011 · Articles · 5 minute read

Simon's "Lost in Yonkers' at Plays & Players

A different take on ‘coming of age'

In an age that's overrun with “coming of age” stories, Neil Simon's Lost In Yonkers takes a different tack, examining the coming-of-age of an entire dysfunctional family. A superb production expertly navigates the journey.

Madeline Schaefer

Jun 06, 2011 · Articles · 3 minute read

Lynn Nottage's "Ruined,' by PTC

Sunshine among the ashes

Lynn Nottage's Ruined, set in a bar during the Congolese civil war, demonstrates how people create community and happiness even in the midst of devastation. But how to reverse the world's endless cycle of civil warfare? For the answer to that question, you must search elsewhere.

Jim Rutter

Jun 04, 2011 · Articles · 4 minute read

"In a Daughter's Eyes,' by InterAct (2nd review)

Daughters without fathers

The shadows of Mumia and MOVE haunt the stage of InterAct Theatre's world premiere production of A. Zell Williams' In a Daughter's Eyes, as they do Philadelphia itself. The play sheds more heat than light, though, as its two characters grope in a world of pain in which neither can truly find the other. In a Daughter's Eyes. By A. Zell Williams; Rebecca Wright directed. InterAct Theatre production through June 19, 2011 at Adrienne mainstage, 2030 Sansom St. (215) 568-8077 or www.interacttheatre.org.

Robert Zaller

Jun 04, 2011 · Articles · 6 minute read

"In A Daughter's Eyes,' by InterAct (1st review)

Mumia, and the ignorance of certainty

What if Officer Daniel Faulkner's widow and Mumia Abu-Jamal's wife had to hang out together in a setting that required them to acknowledge their common humanity? That's the intriguing premise of this new play, which unfortunately suffers from superficial execution.

Dan Rottenberg

Jun 02, 2011 · Articles · 5 minute read