Ayo Edebiri struggles but Kara Young soars in Broadway revival
A few technical missteps are nonetheless minor compared with the serious performance troubles at the heart of Kail’s Proof. And yet, the unassuming strength of Auburn’s writing manages to shine through that onslaught of actorly miscalculation. We still crave answers to the play’s mild mysteries, still chuckle ruefully at its subtly recurring motifs. This production’s handwriting may be awfully messy, but the basic math of it all is sound as ever.
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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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