Sin, Redemption Delivered with Emotional Wallop
James Graham’s Punch, just brought to New York from England’s Nottingham (approx. 127 miles northwest of London) and London’s fringe, plunges more deeply into emotional areas—almost Biblically—than just about any drama on current or recent display. In two acts the drama all but guarantees that by its conclusion there won’t be, as the expression goes, a dry eye in the house.
Keep Reading
Pope/Bettany Elevate ‘The Collaboration’ Into Art Worth Contemplating
One of them paved a path of his own ascending to artistic godhood by glorifying the mundane; the other painted SAMO (meaning the Same Old Sh*t) criticizing the very idea of repetition. One of them broke down the wall between art and business; for the other, walls didn’t mean a thing. One saw beauty, immortality, […]
Read More
Complex Men and Caricatures of Women Are Caught ‘Between Riverside and Crazy’
Walter “Pops” Washington, as he self-describes in Stephen Adly Guirgis’ Pulitzer-winning play Between Riverside and Crazy, is “a flesh and blood, pee standing up, registered Republican.” He is also a litigious former cop caught within the crossroads of bureaucracy, racism, life as a widower, and a fast-gentrifying Riverside Drive. He also happens to be Black. […]
Read More