Broadway’s ‘Ragtime’ trumpets American ideals with mighty highs, a few lows
It succeeds on the merits of the material and the powerhouse principal cast reprising their roles. Director Lear DeBessonet, in her first show as artistic director of Lincoln Center Theater, makes some appealing use of the grand canvas, a promising sign for her upcoming tenure. But the production doesn’t always benefit from these bold strokes, which underline the pitfalls of a narrative told through archetypes and melodrama.
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





