(Trav S.D.’s article appeared in the Villager, 6/16-22.)
By now it seems as inevitable as scientific law: Pioneering arts institutions, as they grow, sow the seeds of their own destruction by improving their iffy neighborhoods and making them attractive to retailers willing to pay much higher rents. In effect, the arts groups are priced out of the very neighborhoods they help transform.
Ironically, the latest Off-Off Broadway theatre to fall victim to this depressingly familiar phenomenon is one of the oldest (and thus, one would think, one of the most well-established). On August 31st, the Ohio Theatre (66 Wooster St.) will close its doors for the last time — following 26 years of operation and hundreds of innovative productions.
(Johanna Thomas-Corr’s interview with the director appeared in the London Evening Standard on 6/9.)
As the new Government was called to Downing Street last month and David Cameron's Cabinet filled up with white public-school boys, it was hard to suppress a feeling of dismay. Why does Britain have a smaller percentage of female ministers than almost every other European country? Is Theresa May all we have to show for a century of women's suffrage?
(Charles Isherwood’s article appeared in the New York Times, 6/19.)
GLENCOE, Ill. — If you’ve ever wondered, with either fascination or revulsion, just what it might be like to get in bed with Stanley Kowalski, consider a trip to this Chicago suburb forthwith. The Writers’ Theater production of “A Streetcar Named Desire” directed by David Cromer takes you within a millimeter or two of this carnal knowledge. If you happen to be seated in the right spot — the easily unnerved might call it the wrong spot — you can practically see those “colored lights” going yourself when Stanley and Stella engage in a fraught bout of lovemaking after that poker game ends in violence and tears.
(Dan Rebellato’s article appeared in the Guardian, 6/9.)
No theatrical genre lasts forever. City comedy, commedia dell'arte, mystery cycles, masque, equestrian drama, theatre of the absurd, living newspaper: the history of theatre is studded with the wreckage of once-successful genres that just stopped responding to the times they lived in.
(Michael Billington’s article appeared in the Guardian, 6/17.)
Films rarely make good plays. But there is something about the claustrophobia of Ingmar Bergman's work, as we know from Scenes From A Marriage, that lends itself to adaptation. And Jenny Worton's version of Bergman's Oscar-winning 1961 movie proves to have a strange, haunting theatrical power.
(Mark Lawson’s article appeared in the Guardian, 6/14.)
Mark Rylance: the great chameleon His explosive turn in Jerusalem won every award going. Now Mark Rylance is playing a 17th-century fool. He tells Mark Lawson about the highs and lows of a life in theatre
(Hedy Weiss’s article appeared in the Chicago Sun-Times, June 11, 2010.)
Timing is everything. And this week's U.S. debut of "Itsoseng," Omphile Molusi's wholly transcendent one-man show — now through June 20 only in Chicago Shakespeare Theater's intimate studio — could not be more in sync with current events.
(Joshua Kosman's article appeared in the San Francisco Chronicle on June 12, 2010)
What could be more exhilarating than a full-scale operatic triumph, joining musical splendor with sleek dramatic insight and an imaginative visual component? Well, how about one that points the way, at least in part, toward more of the same?
(Summer Banks’s article appeared in ‘Exberliner’, June 14, 2010.)
In a city with an ever-shifting English-speaking (be it as a first, second or third language) population, English Theatre Berlin has managed to stick around for an impressive 20 seasons, chugging along through the tumultuous two decades since the fall of the Wall.