School Girls; or, The African Mean Girls Play Brings ’80s Fashion and Ageless Politics to Broadway
Benton and Rogers—each a radiant presence with resting Disney Princess Face—are perfectly matched rivals. As Paulina, Benton is unflinchingly cruel. She even draws gasps for her especially barbed comments toward Nana (Morton, hilarious and heartbreaking), her most amenable sidekick who’s grateful for the warmth of Paulina’s ambient light.
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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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