Unlike news reports, theater isn’t expected to stick to the facts. By nature, the form is duplicitous, built on a sandy foundation of make-believe and pretense.
The name Shakespeare in Britain is rather like the names Ford, Disney and Rockefeller in the United States. He is less an individual than an institution, less an artist than an apparatus.
Tony Kushner’s latest play, Caroline, or Change, left me contemplating its curious title, which suggests an indecisive playwright. Why not just Caroline, or simply Change?