In a bewildering new staging at The Public Theater, Oscar Isaac is giving a rich, riveting lead turn as the dubious Danish prince.
Rob Weinert-Kendt
Rob Weinert-Kendt, an arts journalist and editor of American Theatre magazine, has written for The New York Times and Time Out New York.
Posted inArts & Culture, Theater
In ‘Oslo’ peace is a process, not a destination
Like all the best historical narratives, “Oslo” shows the intense fragility and contingency of human affairs
Posted inArts & Culture, Theater
The view from Trump’s America and other timely Broadway tales
“Sweat” tells the story of steelworkers whose long friendship unravels as their livelihood is threatened by free trade and immigration.
Posted inArts & Culture, Theater
Stephen Sondheim: a great artist whose work blossoms in simple settings
A good Sondheim show has the sinewy strength, both musically and dramatically, to thrive in the barest of renderings.
Posted inArts & Culture, Theater
August Wilson will not go quietly: a review of ‘Fences’ and ‘Jitney’
Since he died in 2005, Wilson’s stature has only increased, with his name regularly appearing on annual lists of the nation’s most-produced playwrights.
Posted inArts & Culture, Film
The Broadway musical has been born again. Will movie musicals be far behind?
Is the form that defined mid-century American songcraft condemned to sputter along on the fumes of jukebox musicals and high-gloss family fare?
Posted inArts & Culture, Theater
How the theater helps us to survive, and to challenge, politics
How the theater helps us to survive, and to challenge, politics
Posted inArts & Culture, Theater
These plays remind us that #BlackLivesMatter is more than a hashtag.
That is, if the promise of the New Testament is to be true that we might transcend our thorniest divisions.
Posted inTheater
‘Long Day’s Journey’ and ‘Streetcar’ demonstrate the genius and challenge of American drama.
It is hard to imagine two more different writers or plays, but these two new stagings offer instructive contrasts.
Posted inTheater
In “Blackbird” and “The Crucible,” troubled relationships have tragic consequences.
In two new productions intimate transgressions have world-shattering consequences