Who is Little Women for? In Constance Swain’s director’s note for the ASC’s new production, she is quite candid that this mainstay of American literature is not and was not for he…| Come To The Pedlar
Greenberg & Rosen’s Dracula: A Comedy of Terrors has been picked up by a number of theatres since its 2023 Off-Broadway premiere. A five-hander seasonal comedy based on one of the most famous horror narratives of all time makes a huge amount of sense in the current theatrical climate, a sure-fire hit on a budget. … Continue reading THEATRE: Dracula by Gordon Greenberg & Steve Rosen (dir. Matt Radford Davies for the American Shakespeare Center)→| Come To The Pedlar
A sense of reverence and urgency surrounded this student production of the first part of Tony Kushner’s Angels in America. As director Molly Seremet’s program note pointed out, this 90s…| Come To The Pedlar
The idea of a different actor performing in the same play every night, without rehearsal or having even seen the script before, might sound like a gimmick. But it was crucial to the content of Nassim Soleimanpour’s magnificent ECHO at the Royal Court. As the closing monologue made clear, the formal innovation is a metaphor … Continue reading THEATRE: ECHO (Every Cold-Hearted Oxygen) by Nassim Soleimanpour (dir. Omar Elerian at the Royal Court)→| Come To The Pedlar
There’s something immediately off about the opening scenes in Slave Play. Kit Harington is dressed as a dirty, bedraggled overseer on a plantation, while Olivia Washington flirts and shakes h…| Come To The Pedlar
There’s an argument to make – and I haven’t decided yet if I’m the one making it – that America is fundamentally irrelevant to Civil War. For all of the think-pieces arguing about the plausibility of California and Texas uniting forces to secede from the Union, or of New York and Washington, DC being turned … Continue reading FILM: Civil War (dir. Alex Garland)→| Come To The Pedlar
It’s fascinating to have the opportunity to see, at two theatres only twelve miles away from one another, a very English adaptation of Pride and Prejudice performed by a cast using American accents, and a very American adaptation of the same novel performed by a cast using English accents. Melissa Leilani Larson’s leisurely stage version … Continue reading THEATRE: Pride and Prejudice, adapted by Melissa Leilani Larson (dir. Lesley Larsen for Wayne Theatre)→| Come To The Pedlar
It’s taken the Pedlars a good couple of months to play through Breath of the Wild, a length of time which could have been shorter, except the game has been so much fun to play. A modern-day classic, regularly touted as the greatest game of all time, it’s practically required that a review start by … Continue reading GAMES: The Legend of Zelda: Breath of the Wild (Nintendo Switch)→| Come To The Pedlar
Yellowface is a novel about the discourse eating itself, and is itself the epitome of the discourse eating itself. It’s practically art as anthropophagy as it takes aim at the publishing industry, at online literary communities, at authors, at activists, at cultural commentators, at social media, at celebrity culture, and at people who don’t give … Continue reading FICTION: R. F. Huang, Yellowface (HarperCollins)→| Come To The Pedlar
There will undoubtedly already be a film student somewhere who is comparing Drive-Away Dolls and The Tragedy of Macbeth to retrospectively construct the authorial signatures of Joel Coen and Ethan Coen when working separately and together. Where Macbeth was an austere, abstract, beautifully acted, symbolically loaded prestige picture, reminiscent in some ways of work like … Continue reading FILM: Drive-Away Dolls (dir. Ethan Coen)→| Come To The Pedlar
