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by Chris Arnott | Dec 10, 2013 11:38 am
Before, I didn’t get it. Now there’s something to get.
A world-famous, Nobel-winning radical buffoon (in the best sense) who has mastered a centuries-old tradition of socially conscious clowning has been newly interpreted by a team who have pursued a particularly modernized form of classical European comedy at Yale for years.
by Chris Arnott | Dec 6, 2013 11:24 am
In 1987, two theater productions from New Haven’s dynamic, world-class regional theater scene moved to Broadway and won Tony Awards. One was August Wilson’s Fences, which had been developed at Waterford’s Eugene O’Neill Theater Center and then had its world premier production at the Yale Rep. The other was Long Wharf Theater’s revival of Arthur Miller’s All My Sons.
Twenty-five years later, it’s the Long Wharf that is doing Fences, on a set which could serve equally well (better, even) as the set for All My Sons. The whole production, in fact, is more in keeping with a mid-20th melodramatic style than the distinctive, visceral yet lyrical modern theatrical style which August Wilson brought forth in the 1980s.
by Nancy Barnes | Dec 3, 2013 12:36 pm
Click here for a report on plans for a new 120-seat venue as the theater’s second century begins.
by Joshua Mamis | Dec 3, 2013 12:02 pm
Occupy Wall Street and its local progeny, Occupy New Haven, have long since disappeared from the public consciousness. We are no less a divided nation (or region) than we were when the movement started in 2011.
The Occupy movement was on my mind as I navigated the world as experienced by the lowest portion of the “99 percent” during a recenCrossint poverty simulation at Southern Connecticut State University. It came up again that evening when the Occupy New Haven encampment on the Green was mentioned in the Yale Cabaret’s premiere production of Derivatives, Jabari Brisbort’s exploration of the income gap’s impact on people in New Haven. One character saw the encampment as little more than a well-intentioned tented folly that had damaged the Green.
by Christopher Arnott | Nov 29, 2013 12:10 pm
“As you get older, you begin to gather all these models,” world-famous set designer Ming Cho Lee lamented. “And what the hell do you do with them?”
by Allan Appel | Nov 27, 2013 12:10 pm | Comments (1)
Esau Pritchett is Mr. Othello, having played Shakespeare’s great tragic hero nine times and counting. Yet he has never seen the Shakespeare’s great tragedy acted on a stage. Any stage. Anywhere.
Pritchett takes the stage in New Haven Wednesday night to step into another huge role, the embittered yet noble Negro Leagues ball player Troy Maxson in August Wilson’s Fences. He has never seen that play either.
by Allan Appel | Nov 25, 2013 1:57 pm
Marshmallows, graham crackers, marinara sauce, and pasta.
Patrons brought those non-perishable food products along with their tickets to the Shubert Theater Friday night as they entered the lobby and ascended to their seats to see Mamma Mia!.
by Christopher Arnott | Nov 24, 2013 10:35 am | Comments (1)
You might look at Mamma Mia! as a cheeseball 1970s retro piece which gets its big laughs from the sight of people wearing spandex who probably shouldn’t be wearing spandex.
by Allan Appel | Nov 22, 2013 2:00 pm
Black fathers of the 1950s may have experienced such pain they never said, “I love you,” but at least they supported their children, even those born out of wedlock. Young men today just puff out their chests at how many babies they make, and take a walk.
Sharon Brooks made that real-life argument as she and others at Dixwell’s Stetson Branch Library applied a play’s lessons to their community’s real life.
by Allan Appel | Nov 21, 2013 1:03 pm
A serious outbreak is spreading rapidly throughout Cooperative Arts & Humanities High School: Students concocting imaginary people and places in order to avoid their obligations.