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Film

Wretched Lives Still Unredeemed

Film

Wretched Lives Still Unredeemed

Numerous films, as well as a successful Broadway musical, have adapted Victor Hugo’s epic novel “Les Misérables.” The story translates across borders and time frames. One might expect a new French film called “Les Misérables,” directed by Lanj Ly, to succeed Raymond Bernard (1934) and Claude Lelouch (1995) as the latest take on the novel from Hugo’s own territory, but it actually has no direct connection to it. Comment
A shipwreck off the coast of Turtle Island. In the background, European would-be settlers cling for dear life to their upturned vessel. But, irony of ironies, the Indigenous cannot act because they are frozen in the poses the canon of art history has straightjacketed them into: the Noble Savage, the Heroic Warrior, the Supine Maiden with body as fertile and welcoming as the land she lies on. Comment
I landed in London the day the people of Britain, once a colonial power that ruled two-fifths of the planet, voted for a government hell-bent on isolating itself from the rest of the world. That said, theater remains its most precious resource and must continue to be exported. Comment
Theater

Tales as Old as Time

Theater

Tales as Old as Time

It’s time to call a moratorium on the “teenage angst” musical. After a string of musicals that are mediocre at best, the genre on stage has palled, with characters that have blended into one indistinguishable, self-reverential herd facing all-too similar situations. “Sing Street” at New York Theatre Workshop is the latest example Comment
Carl Maria von Weber’s “Der Freischuetz” has never taken root outside of German-speaking countries because of its rather parochial village milieu. Louisa Proske and Chloë Treat’s production at the always-fascinating Heartbeat Opera transposed it to gun-happy Trump-era West Texas, with an emphasis on toxic masculinity. Comment
Theater

Empowered, Liberated, and Safe

Theater

Empowered, Liberated, and Safe

For me, the undoubted best new play of 2019 was Donja R. Love’s “One in Two,” and I had the privilege of meeting this dynamic, fresh voice in American theater right at the Signature Center on West 42nd Street where his play runs through January 12. Comment

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