It’s not easy to dramatize the almost sexual excitement of intellectual discovery. Aaron Sorkin has failed at it twice: in Broadway’s The Farnsworth Invention, which chronicled the birth of television and played as a well-produced book report, and in his Oscar-winning screenplay for The Social Network, which required HTML coding to masquerade as legal procedural. Read More
Raúl Esparza was waiting for fried chicken and talking about the mystery of existence. “The most beautiful thing about the play, and what moves me every night, has to do with humanity’s search for something greater than themselves,” he said. “Some sense of fitting in, whether it’s in time, whether it’s a sense of history.” Read More
German Expressionist painting, which is currently the subject of a thematic exhibition focused on Arcadia and Metropolis at the Neue Galerie in New York, has never been an art for the tender-hearted. It’s an art conceived in a spirit of raucous rebellion, and its ethos remained confrontational and its aesthetic abrasive even after the movement Read More
The space at 9 Jones Street has seen so much turnover in the past
few years that I wouldn’t be surprised to learn that it holds some dark secret
that departing tenants are sworn never to reveal if they wish to get out of the
lease alive. Yet it’s in a great location on a Read More
I know the plays of Tom Stoppard, and Wendy Wasserstein, if
I may say so, is no Tom Stoppard. The comparison wouldn’t normally spring to
mind-and it would be an unfair one-were it not for the fact that Ms.
Wasserstein’s Old Money , her new play
about old and new money at Lincoln Center’s Mitzi Read More
