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You have a tough scene late in the play. You probably know it -- what you do at the end of it.
Why not? After all, writers create the narratives and matches have predetermined outcomes.
Three words: director Ben Stiller. Oh, and maybe there's a fourth word: misogyny.
I used to think this was a great play. Now I fear it's a great play wrapped in a gimmick.
Just because a play delivers "excellence" doesn't mean it delivers "impact."
The Arab-Israeli conflict rages on, making a TV version of John Le Carre's 1983 novel sadly relevant.
With Tyne Daly and Tim Daly reaching new acting heights, what is the playwright afraid of?
Isn't the whole idea of art to trigger something emotional?
Former journalist turned playwright Michelle Kholos Brooks explores a grim historical footnote.
Even just her name still connotes outsized emotions.
“You don’t buy loyalty, you inspire it," says Edie Falco's character, proving that politics hasn't changed.
Revisiting the work of a woman who did not cut her conscience to fit any theatrical fashion.
A spunky, engaging, sardonic story of women making their way in a society framed by -- who else? -- men.
Young Jean Lee isn't necessarily crafting drama about what she knows so much as depending on others for what they know.