A.I. Gave Her Back Her Husband. Was It Worth It?
Harrison has a dream collaborator in Kauffman, who is a master at creating emotion without hitting an audience over the head. Her approach looks as if it is detached, almost clinical, but that only means she does not overplay her hand when navigating emotional stakes. This was obvious in her last Broadway outing, the quietly devastating “Mary Jane” (2024), and so it is here, with all four actors marvelously economical — an approach that does not necessarily win awards but that lingers in audience members’ hearts and minds.
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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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