Day: February 24, 2018

Immersive “Julius Caesar” at The Bridge Theatre

“Two things only the people anxiously desire—bread and circuses,” said the Roman poet Juvenal. He was describing the decline of the Roman Empire, but the phrase seems wholly appropriate as a description of current affairs. Tax cuts are bread; Donald Trump’s antics are a circus. All over the world, populism strides the national stages, and politicians manipulate the people with false promises and fake news. Meanwhile, intellectuals scratch their heads and blunder into the wrong actions. Yes, this is the world of William Shakespeare’s Julius Caesar, as seen by this venue’s artistic director, Nicholas Hytner, in a thrilling and stimulating...

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Alan Bennett’s Next Play Is Set In A Hospital–And It’s Threatened With Closure Thanks To Cuts

Alan Bennett’s next play will focus on an NHS hospital threatened with closure thanks to government cuts. Allelujah! will open at the Bridge Theatre in London this July. Its setting is The Beth, “an old-fashioned cradle-to-grave hospital serving a town on the edge of the Pennines” now facing the chop. Dream Ticket It will be Mr. Bennett’s tenth collaboration with former National Theatre director Nicholas Hytner. Allelujah! has been described as “as sharp as The History Boys and as funny as The Lady In The Van”–both of which were also directed by Mr. Hytner. “Hapless Hunt” Mr. Bennett has...

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“Dutchman” At Secret Theater

One of New York City’s most dynamic young theater companies makes a bold addition to its repertoire with its engaging production of Dutchman, Amiri Baraka’s provocative chamber drama. Dutchman is a companion piece to Albee’s The Zoo Story, another mid-1960’s urban-set dialogue between two strangers featuring a tragic ending. In this case, a Central Park bench is switched out for an MTA subway car. Where Albee’s characters are both white males, Baraka’s play features an African-American man and a white woman. A play so clearly aligned with the turbulent Civil Rights era requires contextural reconsideration; that’s precisely what this...

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Serebrennikov’s “Nureyev” At Moscow’s Bolshoi Theatre: Run, Rudy, Run!

The glass pavilions that appeared on Teatralnaya Square after the reconstruction of the Bolshoi Theatre have been hung for several years with photos of contemporary performances, presenting the theatre’s current repertoire. But the people assembled for the premiere of Nureyev didn’t see these photos—this audience was met by black and white shots of the “legends of the Bolshoi,” of the dancers who were working in Moscow back in the 1960s, when Rudolf Khametovich Nureyev was flying across the stages of Europe. “We had great dancers! We have a great history!” these posters seemed to cry. You did have great...

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