by Staff | Oct 20, 2014 4:20 pm
A wife-and-husband team responsible for building one of the city’s most vibrant new-ish arts not-for-profits is preparing to leave the stage.
by Aliyya Swaby and Markeshia Ricks | Oct 20, 2014 10:38 am
After watching the new revival of Our Town at Long Wharf Theatre (reviewed here by Christopher Arnott), two Independent reporters—one who had repeatedly seen and read the play before, one who hadn’t—regrouped at Atticus Bookstore Cafe to hash out their divergent reactions. Excerpts of the conversation follow:
by Chris Arnott | Oct 20, 2014 10:36 am
Gordon Edelstein’s new Long Wharf Theatre production of Our Town is a magically normal, splendiforously matter-of-fact, divinely human interpretation of a world theater classic that, for all its self-consciously naturalistic tendencies, has a latter-day reputation of being formal and stuffy. This rendition, honoring the Long Wharf’s 50th anniversary, is mortal, moral and resplendently casual.
by David Sepulveda | Oct 17, 2014 11:18 am | Comments (1)
With regard to the community of artists now showing at Christopher Martins State Street restaurant, exhibiting printmaker Evie Lindemann said that the printmaker defies the stereotype of the lone artist often working in isolation.
by Khadija Hussain | Oct 16, 2014 6:23 pm
When Kelly Turner Cole was diagnosed with stage three breast cancer 14 years ago, she decided to take action, using her own experiences with the disease to strengthen others.
by Markeshia Ricks | Oct 16, 2014 4:30 pm | Comments (1)
Edgewood Park’s skate park is about to get a serious makeover—and perhaps spark an equally serious conversation about public art.
by Christopher Arnott | Oct 15, 2014 9:41 am
Some of the big names being bandied about this week: The late Raul Julia. Fictional scoundrel Mack the Knife. Elihu Yale. British political cartoonist Steve Bell. RIng a bell?
Some of the names that don’t sound so big, but are: Ian McLagan of the Small Faces. The Wee Trio.
by Lucy Gellman | Oct 14, 2014 11:46 am | Comments (2)
Joe Fekieta saw it as a chance to harness some of New Haven’s most overlooked voices. Jonathan Sun envisioned the wide, empty stairways and chipping paint as dynamic, integrating several loose and long-abandoned bricks into his work.
by Allan Appel | Oct 13, 2014 12:33 pm
by Christopher Arnott | Oct 13, 2014 8:45 am
Tom Stoppard writes for smart people really well. That means audiences as well as the characters in his plays.
In Arcadia—which the Yale Repertory Theatre is staging for smart audiences through Oct. 25 at the Yale University Theater, 222 York St.—Stoppard is dealing with true geniuses. One is the legendary British poet Lord Byron, who is never seen onstage but is on the minds of the main characters throughout the whole play. Another springs whole from Stoppard’s ingenious mind: a 13-year-old early-19th-century math prodigy named Thomasina Coverly, who doesn’t get the acclaim she deserves because of a series of circumstances, misunderstandings and chauvinistic assumptions. That sensitive plotl ine has made Arcadia a modern classic and one of the most produced of all Tom Stoppard’s plays.