Monthly Archives: March 2013



Openings and Previews


Event: The Assembled Parties

Venue: Samuel J. Friedman Theatre

Lynne Meadow directs this play by Richard Greenberg (“Take Me Out”), for . . .

Get Tickets


Event: The Big Knife

Venue: American Airlines Theatre

Roundabout Theatre Company presents Clifford Odets’s 1949 play, set during the golden . . .

Get Tickets


Event: Breakfast at Tiffany’s

Venue: Cort Theatre

Sean Mathias directs Richard Greenberg’s new play, adapted from the Truman Capote . . .

Get Tickets


Event: Buyer & Cellar

Venue: Rattlestick Playwrights Theater

Stephen Brackett directs a comedy by Jonathan Tolins, about a young man . . .

Get Tickets


Continue reading



(Michael Feingold’s article appeared in the Village Voice, 3/13.)  

A quote I often find myself recalling comes from the sociologist Erving Goffman: "Nothing exists like another person for bringing alive the world within oneself." Goffman, whose writings greatly influenced some key theater figures of the 1960s, including the director Joseph Chaikin, particularly relished the theater because he viewed reality as, in part, a mode of performance. His seminal work, The Presentation of Self in Everyday Life, shows how anyone's daily routine can be analyzed as a series of roles, each with its own pre-scripted demands and expectations. Yet life never becomes a string of predictable exchanges, Goffman explains, because each of us perceives those demands and expectations differently. Human encounters are, on the whole, standardized; human beings remain a constant surprise.


Danse Macabre

A scandal at the Bolshoi Ballet.

(David Remnick’s article appeared in The New Yorker, 3/18.)

Sergei Yurevich Filin, a man of early middle age and improbable beauty, sat behind the wheel of his car on a winter night driving toward home. It was 10 degrees Fahrenheit in the center of Moscow, a light snow in the air, snow on the rooftops, snow piled up in the lanes. Traffic was thick but brisk. Nearby, spotlights illuminated the Kremlin towers. Laughing skaters sliced along a vast rink set up for the season on Red Square. An immense white inflatable dome encased Lenin’s Tomb, sealing it off for structural repairs. Muscovites joked that the eternal resting place of their discredited forefather now looked like Chernobyl’s Reactor No. 4.

When Filin was in his twenties and thirties, he had been a principal dancer for the Bolshoi Ballet. He performed the glamour roles: Count Albrecht, in “Giselle”; the princes in “The Nutcracker,” “Cinderella,” “Swan Lake,” and “The Sleeping Beauty.” He was not the strongest dancer—by the time he was thirty, his jumps were low, his turnout was vague—but, with his pointed chin and light eyes, he retained a dashing presence. He was an effective mime. When Giselle would go into her mad scene, Filin had a way of putting his hands lightly to his temples as if to signal to the audience that he required three aspirin and a glass of water. He was forty-two years old now, but his face was still unlined, his hair shaggy in a teen-idol sort of way. His gaze was, it always seemed, confiding and unworried—despite the great change in his life. Nearly two years earlier, he had become the Bolshoi’s khudruk, its artistic director. He did not pretend to dictate policy in the Bolshevik style of Yuri Grigorovich, an imperious second-rater who ruled the company by decree for three decades, from
1964 to 1995. But Filin did control the crucial matters of scheduling, casting, promotion, and repertoire. The fortunes of more than two hundred dancers—many of them in a permanent state of anxiety about their mayfly careers—rested with him, with his judgments and his caprices.

Read more:

Visit Stage Voices Publishing for archived posts and sign up for free e-mail updates:



Duration: 1 hour, 30 minutes

First broadcast: Sunday 10 March 2013

Listen at:

Read ‘The Misanthrope’ online at Internet Archive:

The Misanthrope by Molière In a new version by Roger McGough from the Everyman Playhouse and English Touring Theatre Co. production.

As part of Baroque Spring, Radio 3's season of Baroque music and culture, and following on from the Sunday concert, a new adaptation of this classic French play performed live in front of an audience at Powis Castle.

How to lose friends and infuriate people – a mockery of manners and morals set amid 17th century French aristocracy. Disgusted with French society, where powdered fops gossip in code and bejewelled coquettes whisper behind fans, poet Alceste embarks on a one-man crusade against fakery, frippery and forked tongues. But could the woman he adores be the worst culprit of them all? And in this rarefied world will his revolution prove merely revolting..?

Dubois ….. Neil Caple
Philante ….. Simon Coates
Clitandre ….. Leander Deeny
Oronte ….. Daniel Goode
Eliante ….. Alison Pargeter
Acaste ….. George Potts
Celime ….. Zara Tempest-Walters
Arsione ….. Harvey Virdi

Music by Peter Coyte

Directed for the stage by Gemma Bodinetz

Produced and directed for radio by Pauline Harris. 



(Charles Spencers’s review appeared in the Telegraph, 3/6.)

What a great if faintly guilty pleasure this play proves. In times past, the dramatist Peter Morgan would have been locked up in the tower for such impudent lese-majesty, and might have counted himself lucky to have kept his head on his shoulders.

But as he showed in his screenplay for The Queen about the crisis that engulfed the Royal Family following the death of Princess Diana, Morgan admires his monarch. And in this marvellous piece, with Helen Mirren once again giving a magnificent performance as the Queen, he penetrates at least some her mystery, with compassion, grace,affection and humour.



(Charles Isherwood’s article appeared in The New York Times, 3/3; video from the Yale Rep production.)

Tragedy slips into the room quickly and quietly in “Belleville,” the extraordinarily fine new play by Amy Herzog that opened on Sunday night at New York Theater Workshop. A portrait of a marriage sliding ineluctably into crisis, Ms. Herzog’s delicately constructed drama simmers along coolly until, almost unnoticeably, the small secrets and larger lies that have become woven into the fabric of a young couple’s life begin to tear them apart.

The play, which had its premiere at the Yale Repertory Theater, arrives in New York with the creative team behind it intact: the director, Anne Kauffman, whose subtly paced, incisive work gently stokes the play’s atmosphere of unease; and the two superb actors in the central roles, Maria Dizzia and Greg Keller, whose performances have become more finely honed, emotionally revealing and, ultimately, devastating.



Openings and Previews

Event: Ann

Venue: Vivian Beaumont Theatre

Holland Taylor wrote and stars in this one-woman play, about Ann Richards . . .

Get Tickets

Event: Breakfast at Tiffany’s

Venue: Cort Theatre

Sean Mathias directs Richard Greenberg’s new play, adapted from the Truman Capote .
. .

Get Tickets

Event: Detroit ‘67

Venue: Public Theatre

ThePublic, in association with the Classical Theatre of Harlem and the . . .

Get Tickets

Event: The Flick

Venue: Playwrights Horizons

Sam Gold directs a new play by Annie Baker, centered on three . . .

Get Tickets

Event: Hands on a Hardbody

Venue: Brooks Atkinson Theatre

This new musical, with a book by Doug Wright and music by . . .

Get Tickets

Event: The (*) Inn

Venue: Abrons Arts Center Henry Street Settlement

The 1917 experimental Yiddish play by Peretz Hirschbein is reimagined by Target . .

Get Tickets

Event: Jackie

Venue: City Center Stage II

For Women’s Project, Tea Alagic directs a new drama by Elfriede Jelinek . . .

Get Tickets

Continue reading


(Douglas Martin’s article appeared in The New York Times, 3/1.)

Bonnie Franklin, whose portrayal of a pert but determined Ann Romano on the television show “One Day at a Time” in the 1970s and ’80s spun laughter out of the tribulations of a divorced woman juggling parenting, career, love life and feminist convictions, died on Friday at her home in Los Angeles. She was 69.

The cause was complications of pancreatic cancer, family members said. They had announced the diagnosis in September.

Ms. Franklin also acted on the stage and in movies and for years sang and danced in a nightclub act. But she was most widely known in the role of Ann Romano, one of the first independent women to be portrayed on TV wrestling with issues like sexual harassment, rape and menopause. Ms. Franklin — green-eyed, red-haired, button-nosed and 5-foot-3 — brought a buoyant comic touch to the part.