Theater

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Carlson as Bellini: McNally's alter ego? (Photo: Mark Garvin.)

McNally's "Golden Age' by PTC (3rd review)

McNally's triumph about a triumph

From its first moments, Terrence McNally's Golden Age liberates itself from the fetters of the stage and soars into the magical realm that only theater can make possible.
Jim Rutter

Jim Rutter

Articles 5 minute read
Fairbanks (right): Whom is she portraying? (Photo: Paola Nogueras.)

Villanova Theatre's modernized "Medea'

Medea meets Oprah

You wouldn't want Medea for a nanny, but she's always welcome on the boards if you know how to treat her. But the current Villanova production never does find a coherent way to project Euripides's most famous drama onto a modern stage, and the result is an Oprahfied heroine with a knife in her waistband.
Robert Zaller

Robert Zaller

Articles 5 minute read
Kudisch (left) and Carlson: Mincing to excess.

McNally's "Golden Age' by PTC (2nd review)

The eternal Callas, somewhere offstage

Golden Age may be set in 1835, but it's actually Terrence McNally's latest paean to the obsession of his life, Maria Callas. Music lovers will relish hearing about vocal techniques, public tastes, jealousies and gossip about other singers and composers, but it goes on too long. Golden Age. By Terrence McNally; directed by Austin Pendleton. Philadelphia Theatre Co., production through February 14, 2010 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). (215) 985-0420 or www.philadelphiatheatrecompany.org.
Steve Cohen

Steve Cohen

Articles 5 minute read
Bogosian, Silverstone, Linney, James: Not domestic people.

"Time Stands Still' in New York

Global terror, once over lightly

The playwright Donald Margulies likes to flirt with serious social issues. His trouble is, as Time Stands Still reminds us, that he isn't serious about any of it.
Toby Zinman

Toby Zinman

Articles 3 minute read
Rea (left) and McGinley: Shades of Beckett. (Photo: Sara Krulwich, New York Times.)

Sam Shepard's "Ages of the Moon' in New York

A coupla white dudes sitting around talking

Ages of the Moon finds Sam Shepard in a meditative mood, ruminating on life, hilariously and painfully. His reunion of two aging Western geezers is classic American dramatic metaphor— a long day's journey into night if ever was one.
Toby Zinman

Toby Zinman

Articles 3 minute read
Rebecca Brooksher as soprano Giulia Grisi: Much ado about high notes. (Photo: Mark Garvin.)

McNally's "Golden Age' by PTC (1st review)

A very long night at the opera

In the backstage bickering of singers and composer during the opening night of Bellini's I Puritani, Terrence McNally has the raw materials for an intriguing drama. Unfortunately, McNally's Golden Age consists of more than three interminable hours of operatic name-dropping and hackneyed expository dialogue.
Dan Rottenberg

Dan Rottenberg

Articles 5 minute read
Brian McCann (top), McLenigan, Kevin Meehan, Delaney: But what does the playwright think?

Gregory Burke's "Gagarin Way'

Which side are you on?

Despite the intoxicating power of this play about a labor-management standoff, Gagarin Way shrinks from addressing critical questions, like the use of violence on behalf of a just cause.
Jim Rutter

Jim Rutter

Articles 4 minute read
Ijames as Baldwin: Teenage vocabulary.

Mauckingbird's "Tru' and "The Threshing Floor'

Capote and Baldwin: Where's the beef?

Some one-person plays provide drama, but most devolve into lectures. Mauckingbird's current homages to Truman Capote and James Baldwin fall in the latter camp.
Jim Rutter

Jim Rutter

Articles 4 minute read

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Bresky, Real: Triumph of gadgetry.

"Peter Pan' at the Arden

Is it true boys have more fun?

Douglas Irvine has apparently heard the Peter Pan story so often that he sees no need to dramatize the contrast between Edwardian London and the mythical Neverland. And without that conflict, the story loses its point.
Dan Rottenberg

Dan Rottenberg

Articles 2 minute read
Danielle Skraastad as Suzanna, Jeremy Bobb as Max: Real problems, anyone?

"Becky Shaw' at the Wilma (2nd review)

Adults behaving like children, or: What would Oscar Wilde say?

If nothing else, Gina Gionfriddo's Becky Shaw demonstrates why a universal health care system shouldn't include free therapy— at least not for over-educated, uber-sensitive white people who've never faced a real problem in their lives and generate little in the way of taxable income.
Jim Rutter

Jim Rutter

Articles 6 minute read