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Back in January we sent our Arts Editor, Randy Winston, to review Cruel Intentions: The '90s Musical Experience show at (le) Poisson Rouge in the West Village, who wrote: “I’m underselling this musical if I only call it entertaining—this is more! A live rock band, table service, and full bar make this show a priority on the me-and-the-crew to-do list—a must see with a glass in your hand.” Because we know seeing is believing, we’re giving away a pair...
The History of a Boroughscape — Brooklyn’s architecture has been reactive to the seismic cultural and political shifts of the changing times, from the rapidly modernizing post-industrial landscape of the early-to-mid 20th century all the way to present day issues with gentrification affecting cultural visibility in an increasing number of neighborhoods. This history is profoundly expressed in the photography on display in BRIC’s new “Brooklyn Photographs” exhibition, a collection of works from eleven photographers...
Peggy Ashcroft said that the role of Winnie in Samuel Beckett’s Happy Days was a “summit part” for women like Hamlet was for men, and that many actresses would want to test themselves against it. Dianne Wiest played Winnie in an acclaimed production at Yale Rep in 2016, and now she is playing this summit part at Theater for a New Audience in Brooklyn. Her Winnie is buried up to the waist in a...
For almost ten years Annie Baker has written innovative, patient, semi-lyric, mysterious plays, and she is well on her way to becoming a beloved cultural figure. Her four best plays so far, Circle Mirror Transformation, The Aliens, The Flick, and John, were all directed by Sam Gold, and all of them had an unusual feel for time inching forward and sometimes opening up. They were convincing and suggestive theatrical worlds created around silences and...

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