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Sly
in Bottomless Love, by Gordon Rogoff
Ron Rosenbaum's new book The Shakespeare Wars takes careful aim
at the excesses of the academic Shakespeare Industry but unfortunately
scores only sporadic hits.
Our
Debts to the Duke: A Note, by Stanley Kauffmann
All contemporary theatergoers owe a debt to the Duke of Saxe-Meiningen
(1826-1914). A probing essay explains why.
Acceptance
Speech for the Thalia Prize, by Eric Bentley
In his speech accepting the first International Association of Theatre
Critics' Thalia Prize, Eric Bentley reflected on criticism and on his
long and productive career.
The
Second Life of Rachel Corrie, by Jason Fitzgerald
Despite the "murky waters of controversy," there is beauty and
a powerful "call to action" in the documentary drama inspired
by a young American woman who famously died defending a Palestinian home.
Tim
Crouch's Theatrical Transformations, an interview with Caridad
Svich
The remarkably versatile and protean British author-performer of My
Arm and An Oak Tree speaks at length about his unique creative
process.
Richard
Gilman: In Memoriam
A farewell to one of the great 20th-century theater writers, who died
in Japan on Oct. 29, 2006.
Staging
Sam: Beckett as Dramatic Character, by Hersh Zeifman
To the copious evidence of Samuel Beckett's world-wide stature, add now
the fact that he has been used as a dramatic character by at least three
very different playwrights.
Are
We All Eating Cake?, by Karin Badt
A critic of French background skewers Sofia Coppola's political disinterest
and historical ignorance in her new film Marie Antoinette.
Go
Ost Young Man: New Theater in Berlin and Copenhagen, by Kathleen
Dimmick
Recent productions at the Volksbuhne and Berliner Ensemble in Berlin and
at the Royal Theater, the Badteatret and the Cafe Teatret in Copenhagen
exemplify stand as important critical reflections of their societies.
Rewriting
Revenge, by Gordon Carver
A recent revival of Cyril Tourneur's Jacobean classic The Revenger's
Tragedy, adapted by Jesse Berger, provides an occasion to reflect
broadly on the revenge-play genre.
An
Unsentimental Education, by Caridad Svich
Alan Bennett's The History Boys is "a deeply funny, heartbreakingly
anguished exploration of a monumental social shift" that took place
during the Thatcher years.
FORUM ON MY NAME IS RACHEL CORRIE
HotReview.org enters the editorial fray in response to New York Theatre
Workshop's controversial decision to postpone production of a play drawn
from the writings of a young American woman killed while protesting Israeli
treatment of Palestinians:
A
Singular Voice, by Terry Stoller
An
Open Letter to James Nicola, by Robert Simpson McLean
Thoughts
on My Name is Rachel Corrie, by Miriam Felton-Dansky
Macbeth's
Tomorrow, by Stanley Kauffmann
Remembered after 87 years, a whimsical English comedy sheds light on "one
of the most beautiful passages ever written in the English language."
On
a Far-Away Island, by Martin Harries
Behind Kate Valk's masterful performance in the Wooster Group's revival
of its 1998 production of The Emperor Jones lurk serious questions
of historical and political context that beg to be unpacked.
Measure
for Pleasure, by Alisa Solomon
The London Globe Theatre's production of Shakespeare's Measure for
Measure, starring and directed by Mark Rylance, is inspiring, infused
with an exhilarating sense of new discovery.
Beyond
Landscape, by Una Chaudhuri
The Broadway production of Edward Albee's 1975 play Seascape offers the rare and moving specatcle of a landscape imbued with a new
environmental ethics.
Brilliant
Gestures, by Caridad Svich
John Doyle's new Broadway version of Sweeney Todd is "a
ritualized, madhouse retelling" of the classic Sondheim musical that
delivers all the requisite thrills but also demands much of the audience.
Cirque
du Soulless, by Kevin Byrne
Equal parts magic show, medicine show, freak show and revival meeting,
the latest production by the National Theater of the United States of
America, Abacus Black Strikes NOW!, is a marvel of politically
jumbled flimflammery.