As some of my readers know, I’ve got another blog, Millman’s Shakesblog, covering primarily theatre. I hope to move that blog to TAC some time later this month, and also to broaden its reach to cover movies, literature, the visual arts – but I expect its central focus to remain classical theatre. I hope it proves of interest to TAC’s existing readership and that it helps to expand what people think of as the scope of cultural coverage in a magazine like TAC.
By way of introduction to that site, the last batch of posts include:
- A review of the Chicago production of Seven Sicknesses, Sean Graney’s adaptation of all seven of Sophocles’s surviving plays. That production is over, but a different production of the play is being staged currently at the Flea Theatre in New York that I have on good report is fantastic, and that I hope to catch myself before it’s gone.
- A review of the Chicago production of Clybourne Park, Bruce Norris’s play about race and real estate, a clever riff on the classic, A Raisin in the Sun, but an interesting play in its own right, which is also finally coming to New York.
- Reviews of last year’s New York productions of Dreams of Flying, Dreams of Falling, by Adam Rapp, and of The Lyons, by Nicky Silver, two plays that appear to be about “families today” but that felt acutely dated to me.
- A review of James X, a one-man show from Ireland about the sexual-abuse scandals in that country.
- A review of the recent superb production of The Cherry Orchard at Classic Stage in New York.
- Reviews of two recent New York productions of Beckett, Fragments, staged by Peter Brook for Theatre for a New Audience, and Krapp’s Last Tape, staged at the Brooklyn Academy of Music with John Hurt.
- A review of Shlemiel the First, based on a cycle of stories by Isaac Bashevis Singer, a show that I seem to be alone (or, alone with my family) in not particularly liking.
- A review of Richard III, currently on stage at the Brooklyn Academy of Music, directed by Sam Mendes and starring Kevin Spacey as Richard.
- A meditation on the use of World War I as a signifier in contemporary stage drama, prompted by the runaway success of the play, War Horse.
Visit there. I’ll let y’all know when and if the blog moves here.