David Mamet’s classic play ‘American Buffalo’ is coming back to Broadway, and progressive theater cats are none too pleased.
With the economical yet incendiary dialogue, and little action throughout the Harold Pinter play’s 90-minute runtime, the onus for keeping the play interesting lies predominantly on the actors.
The ‘Avengers’ star is generally right that actors can and should play anyone, but sometimes that gets complicated.
Progressive hegemony in American arts and culture is a direct result of not-for-profit funding models. Conservatives should stop supporting them.
Ambitious in its production scale and subject matter, ‘Amazing Grace: The Broadway Musical’ plays this summer at an unlikely venue in the nation’s capital.
Bias and a withdrawing venue cannot stop Phelim McAleer’s new play, ‘FBI Lovebirds: UnderCovers,’ from sharing the true story of Lisa Page and Peter Strzok’s attempts to undemocratically destroy a presidency.
Written by Anaïs Mitchell, directed by Rachel Chavkin, the story follows the twisted love stories of both Orpheus and Eurydice and Hades and Persephone.
Assimilation is a dirty word for some, but for Neil Simon and his generation of Jewish writers it was a goal achieved, for better or worse.
If you haven’t heard of ‘Truth of Truths,’ blame Rolling Stone. Its reviewer described the show as ‘preachy,’ which was exactly what it aimed to avoid.
David Mamet’s 1992 play ‘Oleanna’ challenged and infuriated audiences with its take on sexual harassment. It still has much to teach us.
Within his ancient play ‘The Clouds,’ Aristophanes examines two particular kinds of speech, just and unjust speech, and their timeless conflict.
There is a red-pill way to view ‘Wicked,’ and once you start viewing it this way, you can’t un-see it.
On September 3, the cast of ‘Natasha, Pierre and The Great Comet of 1812’ will perform its last show. The story of its demise is of a single-minded drive for diversity destroying art and opportunity.
The film director throws out a lot of stereotypical views about conservative ideas, but deep down, he thinks and acts much like the rest of us.
Given that a fairly elected president bears no resemblance to Julius Caesar, why did New York’s Public Theater make this choice?
‘Fences’ is about so much more than merely race relations, for which the critical community mistakenly applauds it to this day.
Audiences are ready for plays of faith, yet many theater companies are not, and they are missing the opportunity for larger houses as a result.
I wanted to build my life upon Madeline L’Engle’s model. She ultimately failed me, but not completely; and I love her still.
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