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Tamburlaine the Great

It is, to begin with, astounding to be watching an actual production of Christopher Marlowe’s TAMBERLAINE THE GREAT on a professional stage. Marlowe is all too easily relegated to second place in the Elizabethan sweepstakes, and it is thrilling, for a change, to feel his theatrical pulse and the pure sensation of his storytelling. Michael…
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The Maids

From the moment I saw Alice Babidge’s design for Jean Genet’s THE MAIDS, I knew I would feel differently about this, the third Cate Blanchett import I have seen from the Sydney Theatre Company. It has the virtue of being spare and sumptuous at the same time and makes no distinction between costume and décor.…
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Village Bike

The title of VILLAGE BIKE comes from British slang for “town slut” or “loose woman,” which is delicate ground to stand – or ride – upon even for a playwright, such as Penelope Skinner, with feminist intentions. But Skinner’s dialogue is so sharply observed, her play so astutely structured, and the cast that the MCC…
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Malena Muyala

Malena Muyala is, at age 43, a distinctive tango vocalist who just might be generationally defining. She advances a view of time that has little, if anything, to do with nostalgia. This distinguishes her, by way of comparison, from two of the innovative female vocalists who came before her. Adriana Varela, two decades older, is…
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Macbeth

When Malcolm says of Macbeth’s grief after the discovery of the murdered Duncan, “To show an unfelt sorrow is an office/Which the false man does easy,” it is in contravention to the late king’s lament on the execution of the traitorous Cawdor that “There’s no art/ To find the mind’s construction in the face.” No…





