Review: Aaron Sorkin’s revival of “Camelot” trades wizardly magic for moralism
That idealistic ethos is quintessential Sorkin (creator of “The West Wing,” adaptor of Broadway’s recent “To Kill a Mockingbird”), who — with “Camelot”’ — imbues another historical work with gregarious dialogue, broiling romance and boundless hope for a more just future. The result is an at times dramatically lagging, but consistently polished and warming tale playing out at Lincoln Center’s Vivian Beaumont Theater.
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