Dec 6, 2015

Carol

Acting is the art of the inscrutability of the self. If, as Sartre would have it, the other person is unknowable, and, as Grotowski said, “no one can know the mind of the other person,” then it is...
Nov 8, 2015

Thérèse Raquin

The whites, greys and blacks of the Roundabout’s THÉRÈSE RAQUIN are so muted that, when a brown-hued backdrop appears, it is like a flash of color, and so, later on, is a sparse scattering of autu...
Mar 6, 2014

A Doll’s House

The version of A DOLL’S HOUSE currently at BAM positions the iconic play within the Ibsen canon as a whole, an act that is no mere literary exercise, but which draws upon the entire body of work to ...
Nov 9, 2013

Enemy of the People

In Thomas Ostermeier’s version of ENEMY OF THE PEOPLE, we have met the people and they are us. In one of the cleverer manipulations of a Naturalist drama that I have seen, a genre of activist politi...
Jul 5, 2013

The Master Builder

There is much to appreciate in the version of THE MASTER BUILDER now playing at BAM. John Turturro’s sheer onstage presence as Ibsen’s feckless protagonist can scarcely be gainsaid, nor can the ch...
Apr 19, 2012

La Traviata

Of all the performing arts, is any more obviously equipped to assert the largeness of human emotions in the face of eternity and infinite space than opera? The isolated instance of joy or pain breaks ...
Jan 5, 2012

The Hermitage in the Prado

THE HERMITAGE IN THE PRADO was not an overwhelmingly memorable exhibit, but agreeable in scale and very interesting. I’m not big on gold artifacts, but looked at plenty of intricately crafted it...
Oct 26, 2011

Cries and Whispers

If there is a single work that drew me to European art film as an undergraduate it was Ingmar Bergman’s CRIES AND WHISPERS. With its ticking clocks, raw yet controlled acting, and dark psychology (i...