Flowers spring from the stage. A miraculous healing frees a gruff old priest from blindness. A little girl dies by inches, trapped in mud after a volcanic eruption. Other extraordinary–incredible, even, to a mind trained in Western rationalism–events appear as natural occurrences. The impossible is made plausible, and the result…
Turning Nathaniel Hawthorne’s brilliant novel The Scarlet Letter into a contemporary drama is a doomed proposition. Phyllis Nagy’s torturous attempt, now playing at the Denver Center Theatre Company, is so full of error, so misguided, so utterly banal a reading of a great work of art, one can only wonder…
We all suffer, some more than others, some horribly. But we all suffer. And though drama is almost always about suffering, it seldom reminds us to consider the man on the street, the woman next to us in the theater, much less what we may do to help each other…
The first time I saw The Lion in Winter, it was the film version and it starred two larger-than-life movie stars–Peter O’Toole and Katharine Hepburn. At the time, the story seemed irritatingly antihistorical–ascribing, as it did, contemporary attitudes to heroes of an entirely different culture and time. I dismissed it…
We still pay for the Vietnam War. Tracers, now playing at the Theatre on Broadway, gives us another window onto that experience. A collaborative effort written by John DiFusco and seven other vets, the play is part group therapy, part high drama and part history lesson. The story takes seven…
Sam Shepard can be pretty self-indulgent when he wants to be. States of Shock is one of those one-acts that seem to have risen out of a dense intellectual fog. The play is primarily an attack on war itself. There’s an indictment in it somewhere about the treatment (read: abandonment)…
John Merrick had a terrible disease (never correctly diagnosed, but now considered “Proteus syndrome”) that so disfigured him, he was known as the “Elephant Man” to the society that first abused and then protected him. Victorian England could be incredibly perverse in a way we scarcely can comprehend. Victorianism brought…
Of all Tennessee Williams’s sometimes brilliant but always anguished works, Suddenly Last Summer is the most difficult to produce. The structure of the play is so awkward and the horrors so thick that melodrama sneaks in unbidden at every turn. The first of two one-act plays included in a program…
It’s natural enough–a full-blown, new-age interpretation of Shakespeare’s A Midsummer Night’s Dream. But while the Denver Center Theatre Company’s rendering explores the fantastic quality of dreams, building a fabulous world full of rich, bright magic, it sometimes palls–like having to listen to a fundamentalist sermon when you hold different ideas…
Caustic and brilliant, August Wilson nails down the realities of racism in his plays. They are as revealing, humane and in-your-face as they are graceful, funny and entertaining. Ma Rainey’s Black Bottom, at the Denver Center Theatre Company, is a masterful piece of theater, competently mounted and performed with moments…
When the theater “holds a mirror up to nature,” it’s not always a pretty sight. The nature reflected there is frail, cruel, stupid and cold as often as it is brave, kind, bright and sympathetic. But the reflection can order and analyze human experience, making it easier for us to…
In the theater it is possible to weigh arguments–to present two sides of a debate and let the audience come to its own conclusions. In the movies, and almost always on TV, what you usually get is propaganda. Occasionally, a great film will come along that is open-ended enough to…
Viola loves Orsino who loves Olivia who loves Viola (thinking her Cesario). The eternal triangle. Love does not come easy in Shakespeare’s plays: There’s always some piper or other to be paid, some complicated journey laid on the innocent by fate. But in the comedies, of course, fate’s jests always…
