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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…
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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…
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Miss Julie
I think that I have never seen a Miss Julie quite like Chulpan Khamatova’s. It’s not just that Thomas Ostermeier, the director, and Mikhail Durnenkov, the adapter, have updated and transposed Strindberg’s 1888 original, making Julie the spoiled daughter of a Russian general rather than a Swedish count, the celebration of New Year’s instead of…
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Mies Julie
Yael Faber’s MIES JULIE, which adapts the Strindberg play to what is bitterly described as “the new South Africa”, is a raw, explicit, and sanguinary baring of a national soul. The white Julie, whose class has ostensibly been defeated, still has her sexual encounter with John (the “Jean” of the original), whose class – and…
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4 Prepared Dreams
Hypnotism and the theater have a long and well-known relationship, beginning with the public demonstrations by the imitators of Dr. Mesmer in the 19th century and proceeding to the present. I still remember the acts that came through the parts of the country where I grew up, in which ordinary people, at least ostensibly, were…
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The Things of Life
I was attracted to the THE THINGS OF LIFE, the Claude Sautet series at The Film Society of Lincoln Center, as he is one of those directors whose work I do not know well but which is of evident quality and importance. A contemporary of Nouvelle Vague figures like Godard, Rohmer, Varda and Truffaut, he…
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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 (including an act of self-mutilation the shock value of which has only recently been equaled by von Trier’s Antichrist) it was…
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Penelope
On one level, Enda Walsh’s PENELOPE is just a modernization of an episode from The Odyssey. Four suitors – living at the bottom of a drained out swimming pool on Odysseus’s Adriatic estate – vie for the affections of Penelope in advance of her husband’s homecoming – finally! – from the Trojan War. They continue…
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Festival de otoño en primavera
I saw three shows at Madrid’s eccentrically named FESTIVAL DE OTOÑO EN PRIMAVERA (Fall Festival in Springtime), which brought a plethora of international theater to the Spanish capital in May and June. My listening comprehension of Spanish is what it is, so I would not pretend to have followed every thread of the multiple plots…
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Creditors • Uncle Vanya
It comes as no surprise that Alan Rickman, a mordantly arresting screen actor, would have an affinity for Strindberg, and he has directed CREDITORS with terrifying deftness. Less performed than Miss Julie, The Stronger or Dance of Death, less studied than The Father, CREDITORS, like some overlooked stepchild, has always begged the recognition that it…