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A Note on Death, Modernism, and Mark Morris's Staging of Prokofiev's Romeo and Juliet, by Martin Harries
In 1941, Prokofiev disclaimed the tragic ending of his ballet Romeo and Juliet as a "barbarism," inserting a happy ending instead. Now Mark Morris's staging of the later version revives the question of which ending was truly barbaric.

Coming of Age: Mamet at Sixty, by Robert Vorlicky
David Mamet claimed to have converted to conservatism in a notorious Village Voice essay earlier this year. A probing article uses his two most recent plays, November and Keep Your Pantheon, to show that the full truth is a bit more complicated than that.

Vijay Tendulkar (1928-2008), a tribute by Balwant Bhaneja
A translator and adaptor reflects on the life and career of one of India's foremost playwrights, the greatest of an embattled group of modern writers who subjected Indian social reality to merciless scrutiny.

Ophelia, Thrice Born, by Loren Edelson
Aya Ogawa's new play Oph3lia interweaves three different tales of adolescent girls and young women who embody and embellish aspects of Shakespeare's fallen heroine.

Macbeth's Young Frankenstein Moment, by Adam Casdin
The much-ballyhooed version of the Scottish play starring Patrick Stewart is in fact "overstimulated" and weakened by the same amped-up "hurly burly" as several other current Broadway blockbusters.

RECENT ARTICLES

Breaking Ice, by Alexis Soloski
An American critic journeys to Reykjavik for the first version of "Lokal, an international festival of art and performance."

The Gold-Painted Plaster Leg of Love, by Kevin Byrne
The National Theatre of the United States of America's production of Moliere's Don Juan is another of the company's brilliant exercises in authentic fakery.

A Playwright's Worries, by Theresia Walser
A well-known German playwright breaks a cultural taboo by speaking her mind about the uses and abuses of director's theater. An essay translated by Claudia Wilsch Case.

In a Garden State: Jason Grote in conversation with Caridad Svich
The author of 1001, recently premiered at the Denver Center Theatre and Baruch Performing Arts Center in NYC, speaks about politics, boredom, surviving as a playwright, and what it's like to be from New Jersey.

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