‘The Fear of 13’ Doesn’t Entirely Add Up
Ferrentino’s choice to make Nick look like he might be an unreliable narrator thus becomes bizarre; it certainly works against the clearer passions of the documentary. If you don’t know the back story, then the play’s irresolute (and then abandoned) hints that Nick might be untrustworthy create a certain slack tediousness. And if you do know that Yarris was (famously) exonerated, then they feel like time wasted. Ferrentino’s dramatic interpolations, particularly the wan attempt to expand Jacki’s character, sap the directness of the original account, and perhaps even harm it as advocacy.
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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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