The Lincoln Center production of Richard Greenberg’s The House in Town could have been staged more or less anywhere. It’s at the Mitzi E. Newhouse Theatre, but it—and we—might easily have been at the Manhattan Theatre Club or Mr. Greenberg’s last venue, the Roundabout on Broadway.
Our leading not-for-profit theaters blur into each other Read More
When Richard Meier unveiled the luminous glass towers at 173 and 176 Perry Street in 2002, the scythe-like silhouettes above the Hudson River in the far West Village attracted a gaggle of celebrity buyers-from Nicole Kidman and Martha Stewart to Calvin Klein, Ian Schrager and renter Hugh Jackman.
But in December, the celebrity buyers and Read More
I regret to say that there are a number of problems with Richard Greenberg’s The Violet Hour , and one of them is the theater it’s in. I’ve already lamented the Manhattan Theatre Club’s expansion into Broadway at the Biltmore as another dangerous example of nonprofit-theater “Broadwayitis.” In my view, the entire purpose and lifeblood Read More
The subject of Jewish identity and denial is a troubling, vast
theme for a play, and questions of assimilation and historic loss shouldn’t be
treated glibly. But I’m afraid that Everett
Beekin , Richard Greenberg’s new drama about two generations of Jews living
in 1940′s New York and late-1990′s California, strikes me as an awesomely Read More
Richard Nelson’s Goodnight Children Everywhere is a disturbing and lovely domestic drama about the loss of childhood. With this fine American playwright, who has made a habit of understanding the English better than the English, we are invariably in good, nicely unsafe hands.
His latest play, first produced two years ago at his de facto Read More
