A Powerhouse Sarah Snook Takes On THE PICTURE OF DORIAN GRAY
Williams’ cine-style quickly grows distancing and repetitive. Too often, Snook herself is out of view, available only by video; a few times she even leaves the stage entirely, leaving us alone with her pre-recorded selves. These choices suck the “liveness” out of the event. That distance is further heightened by the video work’s distractingly high frame rate video—the quality is so unsettlingly crisp, to the point of wanting to grab a remote and turn off motion smoothing.
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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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