Theater Review | 'Gemelos': In a Brutal Landscape, Brutalized by Grandma
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âGemelosâ is a theatrically novel story of endurance in the face of want and neglect.
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The literature of the American theater is chockablock with dysfunctional-family dramas, stories about fathers loathing mothers, wives resenting husbands, brothers and sisters who care too much
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Fiona Shaw is indisputably the queen of the mountain in Deborah Warnerâs blazing production of Samuel Beckettâs âHappy Days.â
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Mr. Allen's unrelentingly glum drama at the Atlantic Theater Company about defeated dreamers in 1950's Brooklyn is filled with gloomy clichÃ©s.
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In this age of âShrekâ and âEnchantedâ comes âThe City That Cried Wolf,â a theatrical take on fairy tales that conjures its own magic.
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Itâs not easy to turn one of the most controversial events of the 20th century into a movie that makes your eyes roll, but âO Jerusalemâ does this and worse.
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The notorious show from London uncovers something grand within the small, squalid lives it portrays.
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A play by Sophocles from the fifth century B.C. has lessons for todayâs medical students.
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The tears and the blame mix uneasily in âReservation Road,â a grim, mechanistic thriller about death and suffering, life and healing among the civilized.
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A new film about a meeting between two  mothers over the deaths of their daughters in Jerusalem, a New  York play set in the West Bank and a ceramic art exhibit are  each being hailed for getting Israelis and Palestinians to talk  to each other.
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Beautifully shot in a sandy, remote corner of northern Brazil, this lovely film tells the story of three generations of women.
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Viewers on Monday were treated to a rare look at three dynasties working out their psychodramas at once.
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âSilence of the Beesâ is an enlightening and emotionally exhausting âNatureâ report that will be shown Sunday night on PBS.
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Some are unusual but compelling, while others are rather gruesome.
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David Greig's new play is more pedantic than discomfiting, despite the ugly immediacy of the events it portrays.
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Set at a small Catskills  resort in the 1950s, when writers were blacklisted for alleged  Communist sympathies, Michael Elias&#39; play is shot through with  the kind of nostalgia that signals deep personal involvement.  But it leaves out the details of why this means something to  him, and so it fails to engage the audience with an emotional  back story.
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ÂTesoros/Treasures/Tesouros,Â now at the Philadelphia Museum of Art, offers a rich cultural collision for anyone interested in a big dose of worldliness.