Schmigadoon! Brings Its Inside Jokes to Its Ancestral Home
Schmigadoon! replicates much of the golden-age façade while seeming afraid of those shows’ political shadows. The show gestures at the classic targets of old-timey sexism, small-mindedness, and nativism—much of it embodied by Gasteyer’s scheming character—but only in the safest possible ways. Its aims instead are centered squarely on the importance of Josh and Melissa’s romance, the value in getting one partner to open up for another. I left the theater amused, but with a nagging feeling I’ve kept experiencing recently—that of loving an incredible shrinking genre.
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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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