a theatre, film & pop culture review
Mike Bartlett’s Bull, his companion piece to last year’s Cock swaps out sexuality for office politics.
Jesse Eisenberg — Mark Zuckerberg doppelgänger, Zombie killer — has written his second play, following 2011′s Asuncion. So has the writer-actor made strides in the former part of the popular hyphenate?
Sondheim’s moody love triangle, Passion, receives its first New York revival since its premiere in 1994 — and boy, did we need it.
It’s that time of year again: “Best of 2012″ lists are proliferating, taking up valuable space everywhere from The New York Times to New York magazine. So, hell, why not add to the pile?
In our over-saturated culture of movie-to-musical fare, Giant‘s messy imperfection is far more interesting and than any glossy mediocrity currently taking up real estate on 42nd Street.
I’m thankful to have Michael John LaChiusa’s offbeat, discordant works in my theatre life.
I’m thankful for living in a city that allows me to see a different show every day of the week if I wanted, and for all my wonderful friends and connections who think of me when they need to fill seats!
I’m thankful for dedicated, ridiculously talented artists who can make even the worst dreck seem not so bad — even if only for their few glorious minutes of stage time.
Rapp’s newest output is reminiscent of his own THE HALLWAY TRILOGY which explores our evolution as a society of hope to one of brutal detachment. But unlike his trilogy, here it’s uncertain what Rapp wants us to walk away with.