• MAC BETH

    MAC BETH

    In Red Bull Theater’s MAC BETH, seven young women play schoolgirls acting out Shakespeare’s Macbeth. Their uniforms look Scottish; a pocket insignia can’t be read from the house, but the mind fills in a Scots name. The stockings and pleated skirts evoke kilts, and so, despite the tragedy, the cross-dressing women of comedies like As…

  • Yerma

    Yerma

    Billie Piper deserves all the praise she gets as “Her” in Simon Stone’s YERMA, the Young Vic production now playing at the Park Avenue Armory. By the end she brings herself to a place of so much pain that empathy itself is taxed, and the curtain call feels, her face still trembling with emotion, like…

  • The Taming of the Shrew

    The Taming of the Shrew

    People forget that Shakespeare’s The Taming of the Shrew starts with an induction in which a drunken vagabond is to be regaled with a theatrical performance of what is sometimes mistaken for the whole play. The Kate-Petruchio shenanigans is, in short, a play-within-a-play, an imagined world of sex-play and power relations, perhaps challenging to, but…

  • Por amor al tango

    Por amor al tango

    A visit to Colombia to attend the Festival International de Tango de Medellín in June overlapped with a tour of the country by La Guardia Nueva, the guitar trio from Argentina that, earlier this year, won a first annual world competition for tango orchestras. They presented POR AMOR DEL TANGO, a CD featuring the singer…

  • Ensen

    Ensen

    The Tunisian artist Emel Mathlouthi released her new album at Joe’s Pub in February and sings again in New York at (le) poisson rouge on May 6. The collection is called ENSEN, which means “human” in Arabic, and it paints a sonic picture of how it feels to be so in the world. To read…

  • ma ma

    ma ma

    I am avoiding the obvious word to describe Penélope Cruz in MA MA, but so be it if by saying that she illumes the screen I call the cliché to mind. Magda is among her finest creations, a great screen performance. It is no surprise that Julio Medem, the most illuminative of contemporary directors, elicited…

  • The Crucible

    The Crucible

    The director Ivo van Hove has turned his eye on THE CRUCIBLE, Arthur Miller’s treatment, in 1953, of the Salem witch trials as analogous to McCarthyism. Van Hove’s version begins, as did his A View from the Bridge, also by Miller, with a black scrim interposed between the audience and the playing area. No –…

  • King Charles III

    King Charles III

    Watched without sound, the Broadway production of Mike Bartlett’s KING CHARLES III would suggest a Shakespeare in modern dress, a tragedy or a history, drawing some sort of parallel with the current royal family. Maybe it’s Henry IV: there’s a fellow who looks like Harry cavorting with commoners. And the guy who resembles Charles (a…

  • A View From the Bridge

    A View From the Bridge

    I took an onstage seat for the Young Vic production at the Lyceum in New York. First row, right, center. I stared at a black scrim, an aisle’s width away. Two hours later, there was a drop of red liquid on my shoe. It dissipated harmlessly. I sat breathless. I wasn’t able to go with…

  • Thérèse Raquin

    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 autumn leaves, dropped and faded. The interiors, when they appear, are dim and woody, the windows opening, at best, on…