Alejandro Agresti’s The Lake House, from a screenplay by David Auburn, is based on a Korean film, Il Mare, which I have not seen and cannot really imagine. This is to say that The Lake House is longer on a kind of furtive charm than on narrative logic. How, people are asking in and out Read More
Alejandro Agresti’s The Lake House, from a screenplay by David Auburn, is based on a Korean film, Il Mare, which I have not seen and cannot really imagine. This is to say that The Lake House is longer on a kind of furtive charm than on narrative logic. How, people are asking in and out Read More
I know September is a bit early for throwing one’s hat in the air with end-of-the-year abandon, but two English-language films I have just seen impel me to rapturous reviews of their riveting narratives. These are, in no particular order, Julian Fellowes’ Separate Lies (from his screenplay, based on the novel A Way Through the Read More
The great thing about Jonathan Larson, the creator of Rent , is that this tragic man was a true artist. All artists believe that about themselves, but some are truer to themselves than others. Larson was crazed on music, uncompromised, passionate, idealistic, naïve–a downtown bohemian in an age when the word “bohemian” seems quaint. His Read More
Here are my eagerly awaited Theater Awards of the Year. Remember, the only rules are no rules. Good luck to everyone concerned. I can feel the tension rising as we speak. And the envelopes, please!
The newly named Annual Ben Brantley Award for the Most Amazing Observations in the History of Theater goes to Read More
I know where I stand when it comes to the dramatically brainy subjects of nuclear physics, Fermat’s Last Theorem or-to pluck another example out of thin air-Heisenberg’s dear old Uncertainty Principle, which, as everyone surely knows by now, equals the square on the hippopotamus provided the photon of Z is greater than the particle of Read More
