446 stories by "George Hunka"
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…
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…
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 …
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 (…
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.&…
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),…
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…
“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…
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…
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…
Neuropsychiatrist 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…
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…
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…
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…
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…
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…
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…
The 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…
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…
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…
Now 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…
CBS News runs an Associated Press story here, and Daisey himself commented on the controversy during yesterday’s performance of The Agony and the Ecstasy of Steve Jobs; a recording of …
Mike Daisey is absolutely right. As he tells Ira Glass on This American Life today: Everything I have done in making this monologue for the theater has been toward that end — to make p…
My daughters Goldie (three) and Billie (who will be two tomorrow) and I are enjoying pre-bed storytime with a variety of what might be called “classic” children’s books, wh…
It takes time — years — to develop a style, whether prose, verse, or dramatic, and ultimately it’s a question of assimilation, not imitation. Young writers imitate: They tr…
