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PHOTOGRAPHY BY: Zach Gross At the start of the Brooklyn Academy of Music’s latest iteration of William Shakespeare’s King Lear (dir. Gregory Doran), our titular character is brought out onstage, not only on the backs of his servants but also surrounded in a hollow cube. This cube, which is both a manifestation of his vanity and a metaphor for his disconnect with reality, is then reused twice more during the Royal Shakespeare Company’s (King and...
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...

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