Nathan Lane And Laurie Metcalf Shine In Director Joe Mantello’s Stark, Blistering Revival
But first and last, Salesman is Willy’s story, and generation after Broadway generation has thrown its best into the role, from Lee J. Cobb, Fredric March (in the 1951 film), George C. Scott, Brian Dennehy and Dustin Hoffman to Philip Seymour Hoffman and Wendell Pierce. Lane takes his place among the best, his Willy Loman a powder keg of frustration and disappointment and deep, deep sadness. Lane uses his loud, outside voice to excellent effect, his shouts of exasperation and anger giving way to instant regret and recrimination. Watch, future Willys, and pay attention.
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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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