critics and their criticism

Don’t turn the light on! Don’t turn the light on!

There are a number of fine elements in this film, and a couple that are exceptional—but I can’t get over the wrongness of its look.

on May 29, 2020 at 10:00 AM
Red-headed woman Red-headed woman

This made-for-network version is surprisingly provocative and creative for its time. It’s not an unqualified success, but in terms of understanding the play as a whole, it’s a necessary part of the conversation.

on May 26, 2020 at 10:00 AM
Some things are not forgivable Some things are not forgivable

Perhaps the idea here is to give Tennessee Williams’ 1947 play a renewed sense of visceral power that speaks to a younger audience? Maybe, but it doesn’t speak to me.

on May 24, 2020 at 10:00 AM
Bare Foote Bare Foote

Although Kim Stanley’s big-screen appearances were rare—four major film roles, plus the uncredited narration in To Kill a Mockingbird—she was the leading lady of television drama’s “Golden Age.”

on May 17, 2020 at 1:35 PM
Method and magnetism Method and magnetism

In I Can’t Imagine Tomorrow, we’re contending with Kim Stanley and the last gasp of the Method.

on May 15, 2020 at 11:24 AM
Mythos, mystery and grandeur Mythos, mystery and grandeur

Reducing Antony and Cleopatra to the status of mere mortals makes their torrid, tragic love seem rather ho-hum.

on May 10, 2020 at 10:00 AM
Stray ‘Cats’ Stray ‘Cats’

I think that Cat on a Hot Tin Roof is the Williams play I have seen most often, on stage and through film. So, shall we share some observations on some of these experiences?

on May 09, 2020 at 1:53 PM
‘Cat’ people ‘Cat’ people

Gorgeousness is, of course, its own reward—and the movie of Cat on a Hot Tin Roof has many other pluses as well—but I do think Elizabeth Taylor‘s and Paul Newman‘s good looks pose an ongoing distraction.

on May 06, 2020 at 1:25 PM
The Cat’s meow The Cat’s meow

This Cat seems more together than most. Unlike many of the teleplays we’ve considered so far, this one is actually directed by a Tony-winning theater director, and I’d venture that accounts for its relative success.

on May 04, 2020 at 9:00 AM
What the ‘Cat’ dragged in What the ‘Cat’ dragged in

Cat on a Hot Tin Roof is sometimes called the American King Lear, which nods to themes of a father and his disappointing children… but I think it’s also Shakespearean in its sprawl and grandeur.

on April 30, 2020 at 1:34 PM
‘Glass’ dismissed ‘Glass’ dismissed

Yet there remain some memories and impressions I know we’d both like to share—on a few stage performances, memorable in various ways, so how about one more roundup?

on April 27, 2020 at 12:42 PM
‘Glass’ act ‘Glass’ act

Katharine Hepburn is better than I remembered, including making a reasonable attempt at a Southern accent. And, of course, there is distinctive star quality to burn, as well as interpretive intelligence.

on April 24, 2020 at 10:00 AM
Heart of ‘Glass’ Heart of ‘Glass’

Shirley Booth‘s Amanda reminds us again of her astonishing range, and truly unique (yes, a word I hate, but I mean it here) ability to mix heartbreak and humor in the same breath.

on April 23, 2020 at 9:00 AM
A ‘Glass’ half empty A ‘Glass’ half empty

More than any actor I’ve seen on stage or screen, John Malkovich communicates the essential ambiguity of the character.

on April 22, 2020 at 1:34 PM