Hangmen review: The noose is loose in Martin McDonagh’s killer comedy
The sets, by Anan Fleischele (who won one of those Oliviers), are an ingenious construction, their interlocked parts sliding out and up like oversize drawers in a cabinet of wonders. And director Matthew Dunster, another London alumnus, keeps the action moving at a brisk but unhurried clip, ferreting out the deeper feeling embedded in the script even as the tone walks a tricky line between tragedy and farce. (Imagine a very special episode of Cheers, viewed through a pint-glass filter of neck-snapping nihilism and Northern accents.)
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‘for colored girls’ Is a Timeless Movement in Compassion
After playwright Ntozake Shange’s death in 2018, her sister—the playwright Ifa Bayeza—said, “I don’t think there’s a day on the planet when there’s not a young woman who discovers herself through the words of my sister.” As I watched the revival of Shange’s “choreopoem” for colored girls who have considered suicide / when the rainbow […]
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‘How I Learned To Drive’ is a Nuanced Exploration of Memory
As the adage goes, “More Vogel, less Mamet.” Right now on Broadway, this is just beginning to come true, or at least approaching it. Although we have to suffer through both David Mamet’s problematic and dangerous rant about male teachers being pedophiles and a lackluster revival of American Buffalo, we also are graced–thank God–with a […]
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