The Big Picture and the Closeup

Posts Tagged ‘bildungsroman’

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Posted on April 29, 2013, 10:11 pm, by Jack L. B. Gohn, under The Close Up, Theater Reviews and Commentary.

Things that help in the strange ecology of the contemporary serious drama: rolling premieres, black box theaters, foundations, and residuals. But in consequence the reviewer may have to go guerilla. As seen with Detroit, The Train Driver, and Bullet for Adolf.

Tags: 1983, Afrikaans, Alfred Hitchcock, amagintsa, Amy Ryan, Athol Fugard, baby-boomers, bildungsroman, black box theaters, Bullet for Adolf, Cape Town, Cheech and Chong, construction workers, crabgrass frontier, Darren Pettie, David Coomber, David Schwimmer, dejeuner sur l'herbe, Despatch stop, Detroit, drug addicts, first-ring suburbs, foundations, Fountain Theatre, Frankie Hyman, Fugard Theatre, gentility, George Kaufman, guerilla reviewing, Hair, Harold and Kumar, Herbert Muschamp, Hollywood, Houston, I-694, John Cullum, Juilliard, Kenneth T. Jackson, Lee Osorio, Leon Addison Brown, Levittown, Lisa D'Amour, Long Wharf Theatre, Los Angeles, Mad Men, Marsha Stephanie Blake, maturation, McGuffin, Metrorail, Minneapolis-St. Paul, Moss Hart, Mount Road Mortuary, New York Times, Nick Wyman, Off-Broadway, Perseverance stop, Playwrights Horizon, plywood, pondoks, Port Elizabeth, post-traumatic stress, previews, PTSD, Red Doek, regional theater, rehab, Rent, residual rights, Richie Coster, Rocky III, Roelf Visagie, rolling premiers, Ronald Reagan, Sally Ride, Sarah Sokolovic, shaggy dog story, Shamika Cotton, Shannon Garland, shanties, Signature Theatre in Pershing Square, South Africa, starter house, Steppenwolf, Stoners on Stage, suburbs, suicide-by-train, tableau, The Big Lebowski, The Train Driver, The Wire, theater festivals, tryouts, Woody Harrelson, Xhosa
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The Big Picture and the Closeup

Posts Tagged ‘bildungsroman’

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