Wednesday, May 9, 2012
Two of the most critically and commercially successful theatre productions in the United States currently are the Broadway revival of Arthur Miller’s Death of a Salesman and the Goodma…
SOURCE: Superfluities Redux at 08:54AMTuesday, May 8, 2012
Play in two acts. First performed at the RSC’s Warehouse Theatre in Covent Garden, 28 July 1977. Directed by Barry Kyle; designed by William Dudley; lighting by David Boshell. With Ian…
SOURCE: Superfluities Redux at 08:34AMMonday, May 7, 2012
Television play in two parts, written c. 1976 according to Brown. Unproduced in that medium; first performed in the season “Plays Television Would Not Do” at the RSC Warehouse Th…
SOURCE: Superfluities Redux at 08:47AMFriday, May 4, 2012
Now available for instant streaming on Netflix, the 1974 documentary Janis, directed by Howard Alk, is a refreshing portrait of the great — one of the greatest — rock-and-roll si…
SOURCE: Superfluities Redux at 08:32AMThursday, May 3, 2012
In A Style and Its Origins (2007), Howard Barker’s alter-ego Eduardo Houth wrote of Barker’s playful attitude towards the UK’s National Theatre: Barker had amused himself b…
SOURCE: Superfluities Redux at 08:39AMWednesday, May 2, 2012
Play in three acts. First performed at the Crucible Studio Theatre, Sheffield, 19 October 1978. Directed by David Leland. With Roger Sloman (Hacker), Toby Salaman (Prince of Wales), Richard …
SOURCE: Superfluities Redux at 09:01AMTuesday, May 1, 2012
Adorno is not particularly known for his writings on eros (indeed there are few). But, after doing a reading of and research into Howard Barker’s early play The Love of a Good Man, I c…
SOURCE: Superfluities Redux at 02:41PMMonday, April 30, 2012
The conflation of technological advancement with human progress leads to self-worship. Reason makes possible the calculations, science and technological advances of industrial civilization, …
SOURCE: Superfluities Redux at 10:32AMThursday, April 26, 2012
Founded by Julian Beck and Judith Malina in 1947, The Living Theatre continues its work at 21 Clinton Street; this longevity testifies to the continuing relevance of the exploration of theat…
SOURCE: Superfluities Redux at 08:39AMWednesday, April 25, 2012
One of the more interesting dimensions of the off-off-Broadway scene was how little of it actually took place in sites specifically designed as theatres. Both Joe Cino and Ellen Stewart oper…
SOURCE: Superfluities Redux at 08:38AMTuesday, April 24, 2012
First, in regard to the upcoming Caffe Cino event at La MaMa this weekend, off-off-Broadway veteran Robert Patrick has provided a link to a great deal of archival material about the Caffe Ci…
SOURCE: Superfluities Redux at 08:21AMMonday, April 23, 2012
Over the next few weeks, New Yorkers will have several chances to celebrate two great American theatre iconoclasts who through their careers redefined US drama and theatre in the postwar per…
SOURCE: Superfluities Redux at 09:01AMFriday, April 20, 2012
On 3 May, Harold Pinter’s The Caretaker opens at BAM for a run through 17 June, in a Liverpool Everyman and Playhouse/Theatre Royal Bath production directed by Christopher Morahan an…
SOURCE: Superfluities Redux at 08:15AMWednesday, April 18, 2012
First presented at the Royal Court Theatre Upstairs in January 1977, directed by John Ashford and designed by Terry Jacobs. With Catherine Kessler (Syl), Nigel Terry (Jack), Anthony Milner (…
SOURCE: Superfluities Redux at 08:19AMTuesday, April 17, 2012
After seeing recent revivals of Waiting for Godot and The Caretaker, Charles McNulty “suddenly realized how ravenous [he] was for language in the theater with poetic density and grit.&…
SOURCE: Superfluities Redux at 09:07AMMonday, April 16, 2012
First presented at the Royal Court Theatre Upstairs on 6 December 1972, directed by Nicholas Wright and designed by Di Seymour. With David Swift (Clegg), Richard O’Callaghan (Worsely),…
SOURCE: Superfluities Redux at 08:25AMFriday, April 13, 2012
More rare, perhaps, than a print interview with dramatist Martin Crimp is a video interview; the playwright himself speaks below, in a discussion from January 2011 in Geneva, Switzerland. In…
SOURCE: Superfluities Redux at 08:27AMThursday, April 12, 2012
“His work is as austere as the age of austerity,” says Aleks Sierz, author of The Theatre of Martin Crimp, whose new interview with the playwright appeared at The Arts Desk on 10…
SOURCE: Superfluities Redux at 11:31AMTuesday, April 10, 2012
If the Viennese Modernists, both scientists and artists, flourished in Vienna at the turn of the century, it was not a result of the acceptance of their work by the Viennese critical communi…
SOURCE: Superfluities Redux at 09:17AMMonday, April 9, 2012
The press release announcing the Public Theater’s 2012-2013 season brings happy news: Richard Foreman returns to its stage with a new play, Old Fashioned Prostitutes (A True Romance) n…
SOURCE: Superfluities Redux at 03:23PMNeuropsychiatrist Eric Kandel, winner of the Nobel Prize in 2000 for his contributions to the science of medicine and the understanding of memory and author of the seminal textbook Principle…
SOURCE: Superfluities Redux at 02:11PMTuesday, April 3, 2012
Originally posted on 7 April 2010: In Beckett’s late play Rockaby, a prematurely old woman rocks herself off from one world and into another; passing judgment on her experience in this…
SOURCE: Superfluities Redux at 08:28AMThursday, March 29, 2012
Along with Frank Wedekind, the German clown Karl Valentin was one of the earliest influences on Bertolt Brecht. Though it’s safe to say that his name is only known to Brecht cognoscent…
SOURCE: Superfluities Redux at 09:25PMMonday, March 26, 2012
If we lasted forever Everything would change But since we don’t Many things stay the same. Bertolt Brecht You may be surprised to hear that I have very few bookshelves at home, but sev…
SOURCE: Superfluities Redux at 08:56AMSaturday, March 24, 2012
On 22 March, the Public Theater hosted a panel discussion arranged and led by Time Out New York theatre reviewer Adam Feldman on the Daisey affair; participants were writer-director Steven C…
SOURCE: Superfluities Redux at 10:24AMFriday, March 23, 2012
One of the responsibilities of criticism in this century is the reclamation of the individual subject, a subject which has been susceptible to undermining and erasure in the postmodern condi…
SOURCE: Superfluities Redux at 09:39AMWednesday, March 21, 2012
In the interests of fairness, and because of the number of views my previous remarks on the controversy have generated here and here, I post below a complete recording of the remarks that Mi…
SOURCE: Superfluities Redux at 01:41PMThe new issue of The Eugene O’Neill Review, published by the Pennsylvania State University Press, has just been released; it contains my review of the Neo-Futurists’ 2001 product…
SOURCE: Superfluities Redux at 08:45AMTuesday, March 20, 2012
Apropos of nothing in particular, I rerun today an essay from last April regarding the issues of narrative authority and traditional storytelling in the theatre. The key paragraph: … t…
SOURCE: Superfluities Redux at 02:14PMMonday, March 19, 2012
Mike Daisey responds to his critics in general at his Web site today: In the last forty-eight hours I have been equated with Stephen Glass, James Frey, and Greg Mortenson. Given the tenor of…
SOURCE: Superfluities Redux at 01:06PMNow playing at the Irondale Ensemble Project in Brooklyn through next Saturday 24 March, Karen Malpede’s Another Life, produced by the Theatre Three Collaborative and directed by the a…
SOURCE: Superfluities Redux at 08:36AM 
