George Clooney, live in black and white.
Will this play, handsomely mounted though it is, actually change any hearts and minds about resistance in America? Or will it merely contribute to Broadway’s drift toward exorbitantly pricey events reliant on star casting? That’s the $799 question. For producers of this show, it may not matter either way. For everyone else, Good Night, and Good Luck is probably bad news.
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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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