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In Joe Turner’s Come and Gone, Ruben Santiago-Hudson Casts His Eternal Spell

A review of Joe Turner’s Come and Gone by Dan Rubins | April 25, 2026

Regardless, there’s plenty here to ensure that audiences will recognize the preeminence of Wilson’s writing, even without flawless execution of the play’s slow-burn tension. Cedric and Henson each bring the right mix of salty edge and tender gravity to their scenes together. While Seth and Bertha don’t have much room to grow in the play, Henson is especially gifted at suggesting the emotional history of a woman who’s learned to balance strategic self-effacement with wistfulness.

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Pope/Bettany Elevate ‘The Collaboration’ Into Art Worth Contemplating

Ran Xia | December 20, 2022

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’

Bedatri D.Choudhury | December 19, 2022

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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