Reviews

We Are Not Cold-Blooded

On the night she conceives, Serafina Delle Rose (Marisa Tomei) wakes up with a burning sensation on her breast. It was a “pain like a needle,” she tells a friend, “quick, quick, hot little stitches.” When she undresses, Serafina sees her husband’s rose tattoo on her own chest: a sign that they are going to […]

Read more
Reviews

God Bless Us, Every One!

Penny Arcade has the ideal résumé for The Mutilated, a late, bizarre Tennessee Williams play that is dominated by camp.  Throughout her career, she has worked with Andy Warhol, his director Paul Morrissey, and the late experimental filmmaker Jack Smith.  With oversized breasts and a way of reciting lines that is simultaneously so flat and so hammy […]

Read more
Reviews

Locked Doors

In his 1973 “Dispensable Foreword” to Out Cry, Tennessee Williams claims to have “the necessary arrogance to assume that a failed production of a play is not necessarily a failed play” and confesses to his “depression over the failed production.“ Williams had fair cause to feel this way—Out Cry, which took him ten years to […]

Read more
Reviews

Who Killed David Mamet? It Was You and Me.

Critics are having a blast beating David Mamet’s newest play, The Anarchist, to a pulp, but something about this strikes me as culturally self-mutilating.  Of course, we have a history of snubbing our greatest playwrights.  How often do we see a Broadway revival of Williams that is not Streetcar or Cat on a Hot Tin […]

Read more
Reviews

In the Woods We Could Eat Rabbits

Lisa D’Amour’s Detroit is yet another entry in the never-ending American tradition of theater about angry drunk families who have secrets that will be revealed after the intermission.  You know these people already: Williams’ Kowalskis, O’Neill’s Tyrones, and Albee’s George, Martha, Nick and Honey.  Last year, we suffered through Jon Robin Baitz’s unimaginative, stultifying Other […]

Read more
Reviews

Poker Should Not Be Played in a House with Women

A Streetcar Named Desire is one of the few perfect American plays, a mammoth masterpiece that puts most of our theater to shame.  It must be intimidating to launch a revival as each new cast will always play their parts in the shadows of such giants as Karl Malden, Vivien Leigh, and, of course, Marlon […]

Read more
Reviews

Change at the Dinner Table

Brooke Wyeth (Rachel Griffiths) complains that her family never talks about anything, though you’d never know it from Other Desert Cities, a play so laden with expository monologues and near-endless confessions that it leaves its audience crying out for the subtlety of Neil LaBute.  This monster of a production, which runs for over two hours […]

Read more