Of three male characters in the play, one is evil, one is occasionally evil but stupid and the last is merely stupid.
She had little time for celebrity, saying: “One went to school, one wanted to act, one started to act and one’s still acting.”
Directed by Claudia Bauer, a rousing and highly topical play unfortunately goes adrift in a sea of unnecessary frivolity and gimmickry.
The event was advertised by HOME on March 25 as “celebrating Palestinian voices”. These voices were cancelled within two days after a filthy campaign by Zionist backers of Israel’s genocide.
WSWS reporter Dennis Moore interviewed Pring about the Museum of Austerity, his involvement in it and the issues it raises.
The innovative installation utilises holographic/augmented technology creating life like images and recorded interviews with family members drawing together the terrible personal and social impact of over a decade of brutal austerity.
The IDF reign of terror directed against the Palestinian population—including its leading cultural and intellectual figures—continues unabated.
In attacking actors, whose only “crime” was to wear Arabic scarves during a curtain call, the proponents of Israel’s genocide have inadvertently pointed to the bogus character of their entire campaign.
WSWS reporters recently conducted an interview with the artistic team at the Theatre Factory, which focuses on the class struggle and social issues.
The most successful moments of the Sydney Theatre Company production were those that unflinchingly dramatised the existential crisis facing humanity.
Netrebko, following a favorable arbitration decision, is pursuing her claims that the Met has unfairly attacked her and jeopardized her career.
The play is the best-known work by author J.B. Priestley. An Inspector Calls (written and first performed in 1945) has a certain enduring significance.
Spacey has pleaded not guilty to three counts of indecent assault, three counts of sexual assault and one count of causing a person to engage in sexual activity without consent between 2001 and 2013.
The industrial action, the first by this section of performers in more than forty years, shines a spotlight on the huge attacks carried out against entertainment workers in the first years of the pandemic.
Her acting was self-critical and unsentimental, driven, director Charles Marowitz said, by a “loathing for lame and easy effects.”
Why should the US ruling elite blink at the permanent damage done to artists and cultural life?
Betrayal in the City (1976) is one of Imbuga’s most popular plays, long required reading in Kenya’s secondary education system.
A group of neo-Nazis protested at a preview of Parade in New York City last week, a musical about the trial and 1915 lynching of Leo Frank, a Jewish manager of a factory in Atlanta.
As a whole, Voodoo Macbeth, Anderegg concluded in his comment, was unable “to reconcile the complexities and contradictions into a fully satisfactory, coherent drama.”
The initial NAC news release said the Feb. 17 “Black Out” performance of Aleshea Harris’ Is God Is would be for “an all-black identifying audience” and the vendor Ticketmaster listed the event as “exclusively” for black people.
