critics and their criticism
Without attempting to rival The New York Times’ enormous celebratory package, your doyenne lauds the golden anniversary of the Broadway opening night of the seminal musical Follies with a selection of parterre box and parterre box-adjacent pieces devoted to this gorgeous monster of a show.
By La Cieca
30 comments
Sweet Bird of Youth closes out an undeniably successful decade for Tennessee Williams, on stage and screen, and bisects his body of work, with his mature hits on one side and his experimental, often lambasted later plays on the other.
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The flawless, classical singing style of Perry Como. Perry Como?
By Niel Rishoi
I can safely say that this is the gay drama I’ve been waiting for: a genuinely devastating drama that doesn’t treat its characters like lambs waiting for the slaughter or overdose on weepiness, and a queer narrative that unapologetically centers the queer perspective.
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LOTNY presents 2 LIVESTREAM CONCERTS…
ZEMLINSKYS ZIMMER (Friday, April 16, 7:30pm ET) features scenes from Alexander Zemlinsky’s Eine Florentinische Tragödie. MONTEVERDI & other Treasures from the Seicento (Friday, June 4, 7:30pm ET) features a complete performance of Claudio Monteverdi’s Il combattimento di Tancredi e Clorinda. Tickets start at $5. Visit lotny.org.
If The Night of the Iguana is not exactly a day at the beach, it’s not really the dark night of the soul it should be, either.
As I don’t need to remind you, we are fast approaching the one-year anniversary of COVID quarantine—and for the arts, it remains a scenario of giveth and taketh away.
By David Fox
We shared a feeling that writing about The Fugitive Kind was a date with destiny.
Truly, I think it would be almost impossible to overpraise Anna Magnani in a performance that’s absolutely riveting from start to finish
This year’s earth-shaking advance in gay cinema apparently was the first inclusion of same-sex couples in “Christmas rom-coms.”
In the past when I’ve read through the scads of year-end best lists, there have always been a few titles that I just didn’t “get” but there were more than usual in 2020.
I’ve said it before, and I’ll say it again: nobody hits rock bottom like Susan Hayward.
The first thing I noticed about Ma Rainey’s Black Bottom is how it’s been slimmed down and punched up—clocking in at just 95 minutes, it hits all the marks of August Wilson’s original while smartly settling into a snappier, more focused filmic style.
I have to say I struggle with I Want to Live! The camp appeal of it—including Hayward’s performance—is undeniable… yet it’s also a sincere and even important movie.
While I would say that the great James M. Cain remains underappreciated as a novelist in literary circles, he’s generally done very well by Hollywood. The Postman Always Rings Twice, Mildred Pierce, and Double Indemnity have had multiple film adaptations, and at least one of each is a classic.
