Carrie Coon and Namir Smallwood as Paranoid Crackheads in Love in Bug
Playing a woman with a long-missing child living in constant fear of her ex’s fist, Coon conveys with exacting precision how a lifetime spent asking “why me” can push someone to seek extravagant answers from whatever source seems most plausible, even if those answers are delusions. In her profoundly shattering turn, Coon makes Agnes’s descent at the hands of Peter feel inevitable…Bug is the scariest play ever written.
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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, […]
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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. […]
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