This is why I never wanted to get a real job: Alec Baldwin in “Glengarry Glen Ross: The Motion Picture.”
No stage production of Glengarry Glen Ross feels complete to me without the speech David Mamet added for the movie version, eight years after his play won the Pulitzer Prize for Drama in 1984. But Round House Theatre’s Mitchell Hebert-directed version is solid if not revelatory. Reviewed in today’s City Paper.
Here’s my City Paper review of Round House Theatre’s production of the stage adaptation of Double Indemnity, based on James M. Cain’s Depression-era serialized novel.
Some plot developments may seem unfamiliar to those of us who only know the story from Billy Wilder’s iconic 1944 film noir, which departs from Cain’s structure in ways that’re all to the good. There’s nothing wrong with this play, really, but it’s hardly an essential document the way Wilder’s movie is.
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Tagged Billy Wilder, Double Indemnity, James M. Cain, Round House Theatre, theater, theatre
Noire et blanche by Man Ray, 1926
You there: Settle a bet. Would this be art imitating life, or life imitating art? Or life imitating art imitating life?
This is going to take some explaining, so please be patient.
Round House Theatre’s production of Thomas Gibbons’s Permanent Collection, about a racially charged struggle for control of a museum, doesn’t open for three weeks. But the Phillips Collection is hosting a preview of selected scenes this evening. Why the Phillips? Because it’s about to close Man Ray, African Art, and the Modernist Lens — a brilliant, unconventional exhibit that touches on many of the same issues vis-à-vis how race impacts art’s perceived value that Gibbons’s 2004 drama does. Continue reading
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