The politics of a progressive playwright.
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?
“People try to be so fussy and particular when they look at politics,” observes Zillah, a character in Tony Kushner’s 1987 play, A Bright Room Called Day, “but what I think an understandin
“In society the homosexual’s life must be discreetly concealed. As
material for drama, that life must be even more intensely concealed.
The revival of a highly regarded play can either enhance or diminish
At the Brooklyn Academy of Music this month, the Harvey Theater reclaims
its original name–the Majestic–with the arrival of director Sam
Mendes’s beautiful renderings of Chekhov’s Uncle Va