April 25, 2015 |
'Truth and illusion. Who knows the difference, eh, toots?" That question is central to this juicy and monumental play, Edward Albee's Who's Afraid of Virginia Woolf? And, it turns out, we're all of us "toots. " Theatre Exile's production, under Joe Canuso's smart direction, of this iconic American drama is both splendid and funny and wrenching, just as it should be. A highly skilled and subtle quartet of actors makes this happen. It's 2 a.m. A middle-age couple, George (the extraordinary Pearce Bunting)
April 17, 2015 |
P EARCE BUNTING , who played the bootlegger Bill McCoy in the hit HBO series "Boardwalk Empire," with Steve Buscemi , has returned to his hometown of Philadelphia to step into a new role. Edward Albee 's 1962 play "Who's Afraid of Virginia Woolf?" premieres Wednesday night at the Plays & Players Theatre (1714 Delancey Place), in Rittenhouse Square. Bunting portrays the passive-aggressive George, who gradually loses his patience with his taunting, drunk wife, Martha, after she brings home a younger, married couple who - over the course of several hours of drinking - become enmeshed in George and Martha's domestic disputes.
June 11, 2013
Best Play Vanya and Sonia and Masha and Spike , Christopher Durang Best Revival of a Play Who's Afraid of Virginia Woolf? Best Revival of a Musical Pippin Best Book of a Musical Matilda The Musical , Dennis Kelly Best Original Score (Music and/or Lyrics) Kinky Boots, music and lyrics: Cyndi Lauper Actor in a Leading Role/Play Tracy Letts, Who's Afraid of Virginia Woolf?
January 30, 2013 |
PRINCETON - Is any play more perfectly titled than Edward Albee's A Delicate Balance? The Pulitzer Prize-winning 1966 play, now at the McCarter Theatre through Feb. 27, has well-coiffed suburbanites balancing their composure against chaotic forces within themselves and outside the door. Other balances are needed for a successful rendering of this play. As much as one wishes more of them were achieved in this Emily Mann-directed production, there's still plenty happening with such a rich script wrestled into life by high-caliber actors Kathleen Chalfant and John Glover.
March 23, 2005 |
I reach back to high school, to 1965, and hear my senior English teacher, the vibrant Janet Crimens. She is giving me what every 17-year-old wants, in any form: the go-ahead. "You may do your paper on The Glass Menagerie if you want, that's fine with me," she's saying. "I'm not sure about the rest of Tennessee Williams, but The Glass Menagerie is fine. " Of course, this made me eager to read the rest of Williams, as I'm now certain she knew it would. Up until then, my experience in an audience had been at community plays and Broadway musicals.
March 7, 2004 |
The challenge of embodying the ideas and thoughts of Virginia Woolf - one of the most influential, innovative authors of the 20th century - in a one-woman play intrigued Marcia Saunders. Using Woolf's essay A Room of One's Own, Saunders portrays the feminist author as she delivered a rousing speech in October 1928 to try to galvanize young female writers to reach their creative potential. A prominent member of the avant-garde literary gathering known as the Bloomsbury Group, the British-born Woolf changed the face of writing, said Saunders, who's spent many hours researching the life and works of the prolific Woolf, a leader of the modernist movement in literature before taking her own life in 1941.
January 17, 2003 |
"Someone has to die," muses Virginia Woolf, hard at her manuscript in The Hours, "so the rest of us can value life more. " In the broody film based on Michael Cunningham's novel - a triptych in which three people contemplate suicide, two commit it, and one hangs in there - death crashes the party. And doesn't exactly bring life into higher relief. For a film about embracing the living instead of the dead, The Hours has precious little joie de vivre. Hard to believe that Stephen Daldry, who made Billy Elliot, directed this heavy-handed affair.
September 12, 1998 |
The first fall sale at Freeman/Fine Arts of Philadelphia Inc. of books, autographs and ephemera is, as usual, a study in the lore of literature. The more than 900 lots that will be offered beginning at 10 a.m. Thursday provide items of local interest, a glimpse into authentication tactics, and a bellwether of what is commanding good prices. Of local interest, for instance, is an early farm-receipt book maintained by Jane and John Longstreth of Phoenixville. Kept from 1764 to 1811, it records such bits of Philadelphia history as the yellow-fever epidemic of the 1790s and the births of five children from whom the local Longstreths are descended.
November 24, 1994 |
The flamboyant, popular poet-novelist Vita Sackville-West was 30 years old when she met the awkward, critically admired but scarcely prosperous writer Virginia Woolf, 10 years her senior. They were an improbable pair, and they didn't entirely hit it off right away, but their meeting began a friendship and a sometime love affair that lasted two decades until Woolf's suicide in 1941. Excerpting from the women's letters to each other (and occasionally to outsiders), Eileen Atkins chronicles this mutually beneficial relationship in Vita and Virginia, which opened on Monday at the Union Square Theatre.
May 22, 1994 |
Can there be art outside the art structure? The answer used to be, probably not. Our society is so specialized, it has totally relied on the art structure to identify, communicate and preserve art. Isota Tucker Epes (Bryn Mawr College Class of '40), a Virginia Woolf scholar and former English teacher at Shipley School, now living in Virginia, ventured farther afield when she took up painting in retirement eight years ago. She approaches her painting series, "An Essay: Virginia Woolf," at Bryn Mawr College, with a highly sophisticated set of ideas and an almost primitive paint-handling, attempting to stretch definitions in a provocative way, and hoping to force us to reconsider our own relationships to objects, to meaning and to literature.