By Joshua Furst
La Mama’s productions of ‘Gimpel the Fool’ and ‘The Lady and the Peddler’ transform the written word into theater. They take separate approaches, and achieve different results.
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By Joshua Furst
‘Relatively Speaking’ is a collection of one-act plays by Ethan Coen, Elaine May and Woody Allen. They share common themes, but still feel disjointed and unconnected.
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By Joshua Furst
As I was leaving the Public Theater at the conclusion of Tony Kushner’s new, four-hour play, “The Intelligent Homosexual’s Guide to Capitalism and Socialism With a Key to the Scriptures,” I ran into an old friend — a notable writer and social activist, a rabble-rouser of sorts who’d spent her entire adult life street fighting, raging, warring in defense of her leftist ideals. She hadn’t liked the play.
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By Joshua Furst
Wallace Shawn’s “Marie and Bruce,” now playing off-Broadway, is less explicitly political than Shawn’s most well-known work. “[B]ut it’s no less uncompromising, no less engaged with the important questions of how we live — and how we live with ourselves — now,” writes Joshua Furst.
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By Joshua Furst
Disturbing Perspectives: “Metamorphosis,” a new play recently on view at the Brooklyn Academy of Music, has got the cast, and the audience, climbing the walls.
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