Theater Review | 'The Merchant of Venice,' 'The Jew of Malta': O, Villain, Villain, Loosed in Elizabethan Minds
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Welcome to the Theater for a New Audienceâs smackdown between two of the most notorious villains of the Elizabethan stage, both starring F. Murray Abraham.
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After watching his performance on the introduction to Monday Night Football, I think the best title for him is, King Leer. Nothing worthy of Shakespeare could be seen
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Danteâs âDivine Comedy,â now playing as an opera, with a monsignor as director.
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While Leo Tolstoyâs play remains an intriguing curiosity, more interesting than good, it should be a must-see for students of Russian literature.
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Al Pacino, who has already made purists squirm with his American accent in one Shakespearean role, has taken another risk, playing Jewish moneylender Shylock in the new film version of "The Merchant of Venice."
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âWe Own the Nightâ is a bloody, passionate melodrama, self-consciously Shakespearean â or Biblical, or Greek, take your pick of atavisms â in its intentions.
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The Metropolitan Museum's intricate, lively, and occasionally zany show features Renaissance artists who produced inconsequential but thought-provoking works.
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A 17th century "Star is Born," though with interestingly convoluted sexual politics and a provocative historical thesis.
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âNovemberâ is a David Mamet play for people who donât like David Mamet. I cannot say I see this as a cause for rejoicing.
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The Venice film festival has a  reputation for screening obscure auteur movies.
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A jaunty assortment of parlor magicianâs tricks ornament this fast and funny production. But the real magic happens when the bad actors take over.
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Two shows at Shakespeare & Company in Lenox, Mass., offer a playground for games with genres.
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Oren Safdieâs new play about playwriting and generational conflict is sweetly amusing, if dramatically limp.
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Its newest Broadway show gets the usual kiss-off from the critics. What's their problem?
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This  is not your great-grandmother's "The Jew of Malta," but it  certainly is fun.
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Stephen Greenblatt conjures up the Elizabethan world in which Shakespeare came of age, showing how the era shaped his sensibility and his work.
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The Royal Opera House in London revived Francesca Zambelloâs grippingly spare and psychologically probing staging of âDon Giovanni.â