Wristcutters: A Love Story
I really wanted to love Wristcutters. It’s populated with actors I adore, and the idea seemed charming. If they could make it work, it would be so beautiful. It is beautiful, and the actors really are that cool. But I had to settle for, “I liked it a lot, most of the way through.” I hate artistic disappointment.
Fabulation nothing short of fabulous
For about an hour after “Fabulation, or the Re-Education of Undine” (it makes sense in the context of one of the play’s best moments, but damned if I’m actually going to write it out each time), I walked around in a kind of shocked appreciation, the stupor of being in the presence of something fleetingly, unevenly true. The production, under Isiah Wooden’s direction, has some problems, but the moments that work do so beautifully.
More Method Than Madness
The Director’s and Dramaturg’s notes on Hamlet talk of the pitfalls of reinterpreting Shakespeare for a modern audience. Gussy it up with modern twists and it becomes a gimmick; try to tie it to its original time period and it becomes an artifact. The goal is to “create a common space,” as dramaturg David Cumming (SFS ’08) puts it; to be “bridge-builders.”
Death Sentence: the bad side of Bacon
The logic behind Death Sentence is pairing a recognizable actor with some good old-fashioned ass-kicking. Enter Kevin Bacon, and a bevy of traditionally successful action-flick conventions: a convincing motive, some nameless people to be killed and perhaps a few cool cars.
The Wind That Shakes stirs audience
The Wind That Shakes The Barley is the quietest war movie I’ve ever seen. A story of the Irish War of Independence, a small war on a small island, it manages to convey the horrors of wartime without explosions or flashing tanks.
Singing in the Brain
