While slogging through a slow period for theater, I thought I'd revisit a topic I've been following closely ever since my 2016 TIME cover story, "The New Politics of Late Night": The doctored video of Nancy Pelosi that went viral recently — her remarks slowed down just a hair to exaggerate her slurring speech patterns — … Continue reading Can Seth Meyers Run for President?
I try not to get too excited or outraged over the Tony Awards. But a few thoughts on the nominations announced earlier this week: First, they’re a sign that Broadway is thriving. I remember lean years when there were barely enough shows to fill up the four nomination slots for Best Musical. (In 1995 the … Continue reading A Good Year for the Tonys, Unless You’re Glenda Jackson
I guess I can say (though I wouldn’t press the point) that I knew Rupert Murdoch back when. In the mid-1970s, very early in my journalism career, I was working for a small company that published four monthly magazines for young professionals — doctors, lawyers, engineers and MBAs. Midway through my time there, the company … Continue reading ‘Ink’: Redeeming Rupert Murdoch
As the Tony deadline nears, the Broadway openings are coming fast and furious. Here’s my fast take on three of them: Burn This. The new revival of Lanford Wilson’s 1986 play (my first encounter with the play) is a disappointment. The slight plot revolves around the death of a gay dancer, who has left behind … Continue reading Broadway’s Spring Rush: Hillary, Hades and Histrionics
A blog about theater
Oklahama — oh my. You’ve heard, probably, about the drastically revisionist new production of Rodgers & Hammerstein’s classic musical, which played to rave reviews in Brooklyn last year and has now landed on Broadway, where I saw it for the first time. It is certainly a striking production, eccentric to the max, one of the … Continue reading Oh, What a Beautiful Mourning: The New ‘Oklahoma!’
Suzan-Lori Parks has written a series of provocative plays, most of them revolving around issues of race and usually in non-realistic styles, ranging from Brechtian fable (Fucking A), to historical allegory (Venus; Father Comes Home from the Wars) to baffling surrealism (The Death of the Last Black Man in the Whole Entire World), In her latest work, … Continue reading Slave Mentality: The Wrong Notes in ‘White Noise’