‘Good Night, and Good Luck’ is a straightforward retelling of its source material
Director David Cromer successfully activates the stage, orchestrating that kinetic hum we associate with a network newsroom. And scenic designer Scott Pask’s set is a wonder, particularly effective in the way it allows different zones of the CBS compound to slide into focus: the writers’ room, the live studio, even space for the house band (the resplendent Georgia Heers as singer Ella is a warm-toned delight).
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