John Simon News
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As the Norman Mailer Center and the Muhammad Ali Center passed out cash awards to young writers last night, literary lions and scions pondered investing.
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A more confused and confusing, pseudo-profound and flagrantly pretentious play than Lisa Kron’s “In the Wake” would be hard to imagine.
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Jules Romains’s “ Doctor Knock, or the Triumph of Medicine ” (1923) is as funny as a play can be. It’s also as scary as a play can be. The Mint Theater Company’s New York production does full justice to both aspects.
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David Mamet’s 1977 “A Life in the Theatre,” its title winkingly lifted from Stanislavsky, is revived, this time on Broadway, with Patrick Stewart and T.R. Knight.
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There are serious literary figures who consider Odon von Horvath, the Austro-Hungarian playwright and novelist, the equal of Bertolt Brecht , despite his brief biography.
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Back in 1953, two young British writers, John Osborne and Anthony Creighton, wrote the play “Personal Enemy.”
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A sometimes spectacular, sometimes merely over-the-top Al Pacino stars as Shylock, the relentlessly insulted yet exploited moneylender called “the Jew” by his Christian tormentors.
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Broadway’s silliest, most immature character is starring at a theater named for its ultimate sophisticate.
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Jonathan Tolins’s “Secrets of the Trade” is an accomplished comedy-drama about life and love in the theater. It may be a trifle predictable for the cognoscenti, but it is literate, polished and witty.
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“Bloody Bloody Andrew Jackson,” a youthful romp of a rock musical taking a caricatural view of Jackson and American history, has transferred to Broadway’s big league in what may be an act of pride that goes before a fall.
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