I can feel Dallas Theater Center artistic director Richard Hamburger sending mental waves in this direction and to all the other armchair artistic directors in Dallas: OK, folks, you asked for more Dallas actors, and you got ’em. Now sod off! Local actors way outnumber imported ones in his very…
Marriage is a most propitious arrangement for theatrical adventure, as playwrights have known for centuries. When you throw two people into a situation that’s both legally circumscribed and saddled with the baggage of both community and individual, you’re watching an arena contest transpire. The best playwrights don’t so much pit…
For now, Reed Easterwood is content to give away his music, quite literally. His new record, Absolute Blue, means so much to him that, until now, he has yet to sell a single copy; to profit from the music would, it seems, diminish its rewards. So instead, he has given…
Theater classes generally describe Marxist German playwright-poet Bertolt Brecht as being politically opposed to entertainment for entertainment’s sake. Theater artists should always keep audiences aware that they’re watching a play, he instructed us, and should try to remind audiences as much as possible of social injustices that collect like trails…
Joyce Carol Oates, a journeywoman of American letters who has probably been discussed more carefully than she’s been read, has written about rapists, child-killers, and animal mutilators through a poet’s eye. Throughout her career, she’s been accused of having an obsession with violence, which is correct as far as it…
The early plays of Anton Chekhov were given such a cool reception by late-19th-century Russian theatergoers that the poor bastard almost quit the biz to devote all his energies to family doctoring, the profession for which he was trained. Russian theatergoers were accustomed to watching actors paint their faces with…
The program for Bucket Productions’ latest show, the Southwest premiere of Anne V. McGravie’s Wrens, declares that the troupe is “dedicated to the production of fun, entertaining, watchable theatre. We don’t have any social agendas or themes, and we have no pretense of a grand artistic vision.” It’s a refreshingly…
Edward Albee’s most famous play, Who’s Afraid of Virginia Woolf?, so scandalized American theatergoers when it was produced in New York in 1962 that no Pulitzer Prize for drama was awarded that year because the committee was passionately polarized over the play, or so the legend goes. The ever cautious…
As long as there have been storytellers with the guts to explore all corners of the human experience, there have been listeners who’ve insisted–sometimes with the force of the state behind them–that nothing but harm can come from exploring traditionally taboo subjects…especially those that emanate from the dark, moist corners…
Although I haven’t always enjoyed Pegasus Theatre artistic director Kurt Kleinmann’s doggedly cinematic brand of live comedy, his dedication to it has a definite logic when you consider how the American stage and American film have both traded traditional theatrical acting for “authenticity.” Before Lee Strasberg, Sanford Meisner, Uta Hagen,…
The special challenge of children’s theater–namely, how the heck do you make live performance not only accessible to kids, but competitive with the technological media forms–has been addressed before in this space. It’s not really so different from the challenge of making live performance accessible and competitive to adults, who…
The problem with the one-act, that most bladder-friendly of theatrical forms, is how to present what is essentially a live-action joke and make it look like something more than a joke. Even with the darkest of material–as in, say, Erik Ehn’s Red Plays–the denouement is still a punch line, indeed…
You don’t have to be a twentysomething to dread the idea of a bleak comedy written by a twentysomething playwright about twentysomethings who have no direction in their lives. I shall remain in this demographic for about 10 more months, and I’ve spent more than half of this last decade…
The metamorphosis of Theatre Three’s downstairs rehearsal space into the almost full-fledged black box known as Theatre Too is a particularly gratifying transformation for anyone who thinks that having a clear view of the actor’s face is needed for a rich theatrical experience. This is by no means a commonly…
All human life may be precious, but the arbiters of popular and scholarly history can be pretty forgetful when it comes to meting out posterity. Take genocide, a practice honed in the 20th century whose episodes have produced vastly disparate amounts of attention. Germany’s Holocaust has spawned a bona fide…
Obviously, a Pulitzer Prize just isn’t enough to imbed a playwright in the firmament of American stage greats. Or, to paraphrase a famous line from The Boys in the Band: “So who do I have to fuck around here for a little theatrical posterity?” Novelist and playwright Paul Zindel nabbed…
Harried parents don’t have time to wade through a review that yammers on about the sociopolitical ramifications of a children’s theater production. Yet being childless myself and, as a critic, inordinately fond of my own opinions, I can’t help but rhapsodize about the wonderful Wildean darts to the establishment heart…
The essays and book-length ruminations of Susan Sontag, the American zeitgeist’s preeminent fag hag, are accessible, friendly, almost conversational in their explorations of camp aesthetic and AIDS mythology. But her mammoth first novel, The Volcano Lover, from which I had the fortitude only to snatch scattered sections, felt like–horrors!–a veteran…
There have been numerous American plays that have grappled with what might be called “the morning after” dilemma–as in, “OK, what do I do the morning after I’ve spent the night with someone I just met?” Think David Mamet’s Sexual Perversity in Chicago or Terrence McNally’s Frankie and Johnny at…
Comic actor Coy Covington trowels on the base and mascara far too infrequently for Dallas audiences; underneath all that getup and goo, he has a bloodhound’s sense for the moment to play comedy up or down. While he stalks the daytime in man drag, he ought to consider teaching lessons…
Watching Kitchen Dog Theater’s ballsy new interpretation of Tennessee Williams’ dramatic warhorse The Glass Menagerie makes you feel as though you’re doing a high-wire act right alongside the actors. Director Tina Parker has taken Williams’ kitchen-sink staple from its claustrophobic apartment in St. Louis into the Big Top. At first,…
The 11th Street Theatre Project’s revival of Arthur Miller’s The Creation of the World and Other Business is timed well, as another of our premier stage moralist’s little-produced efforts, A View From the Bridge, has been generating a firestorm of critical and audience praise for its current New York production…
