Monday, September 28, 2009 at midnight (Broadway Time)
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Hope and Love, Lost and Found in the Twin Towers's Absence

Clear Blue Tuesday, the new musical film from Elizabeth Lucas, is a potent and heartfelt—but not entirely successful—look at 11 interlocking lives in the years following the destruction of the World Trade Center.

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Photo Call

Broadway Flea Market 2009

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Join Us Now; We're on a Marathon

Jan Buttram, the artistic director of the Abingdon Theatre Company, believes that Marathon '33 is quite entertaining. As a result, on Oct. 19 as a benefit performance, she's offering it, more or less.

Linked From TheaterMania at 12:00AM

Grown-up Gilbert returns to Prairie in NJ

Melissa Gilbert may not feel old, but the rest of us sure do. The star of TV's long-running Little House on the Prairie—she played the young Laura Ingalls—is back on the prairie. Only now, at 45, she's onstage, in a musical version at New Jersey's Paper Mill Playhouse, through Oct. 10.

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Photo Call

Anna Friel Has Breakfast at Tiffany's in London

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The General in His High-Tech Labyrinth, by Ben Brantley

Peter Sellars's exasperatingly misconceived Othello is wrongheaded less in the anarchic tradition of Dadaists making merry than in the reactionary mold of Depression-era MGM retailoring literary classics for mass consumption.

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New Shakespeare tragedy, by Elisabeth Vincentelli

Sellars' wretched show is both too much and not enough.

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Moor is less in update of Bard's Othello

Heads up if you're near the corner of LaGuardia Place and Washington Square South at 9:15 p.m. through Sunday. You might get trampled, or at least jostled. The 2 1/4-hour first act of the hot-ticket Othello at NYU's Skirball Center ends then, and a stampede of people flees for the exits, with no plan of returning for another hour and a half.

Linked From New York Daily News at 12:00AM

Philip Seymour Hoffman shines in lengthy Othello

There is a stripped-down, stark intelligence at work in Peter Sellars' updated Washington rethinking of Othello, which boasts an unsettling, altogether captivating anti-star turn by Philip Seymour Hoffman as Iago to John Ortiz's slick and confident Moor. Alas, by the time the project has rethought Shakespeare's tragedy and rethought the rethinking, four hours have passed more as a lengthy psycho-political exercise than a full-blown adventure.

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Reviewed by Adam Feldman

Audiences who remain past intermission at this scrambled-egghead production are likely to grow increasingly frustrated with its self-defeating gestures.

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Reviewed by David Sheward

Avant-garde director Peter Sellars offers a baffling interpretation of Shakespeare's tragedy of obsessive jealousy complete with cellphones, TV monitors, and a confusing composite character.

Linked From Backstage at 12:00AM

Lengthy, high-concept Othello falters off-B'way, by Michael Kuchwara

Funny thing about director Peter Sellars' lengthy version of Othello, now on view at New York University's Skirball Center. His imagination outraces the ability of his actors, including the usually eminently watchable Philip Seymour Hoffman, a performer of uncommon intelligence. That means the play, clocking in at a posterior-numbing four hours, is quite an ordeal, despite occasional bursts of inventiveness. It's high-concept time with ideas rather than Shakespeare's language or character ruling the day. But clever can take you only so far.

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Megalomaniacal Director Sellars Dumbs Down Othello, by John Simon

"Adapting" Shakespeare, with cuts, additions and rearrangements, was a theatrical industry for several centuries. What can the world's greatest dramatist do that a hack playwright or megalomaniac director cannot improve upon? Some updatings may have their merits but with Peter Sellars, all debts to reason are canceled. I have long denounced his depredations on the theater, but what he has concocted in New York with Othello—as coproduced by Oskar Eustis of the Public Theater (who thinks him a genius), and the LAByrinth Theater Company (perhaps the most obnoxious in town)—offends Shakespeare, common sense and decency.

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Reviewed by Dan Bacalzo

John Ortiz and Philip Seymour Hoffman deliver strong performances in Peter Sellars' otherwise ineffective staging of Shakespeare's beloved play.

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Reviewed by Simon Saltzman

Peter Sellars is at the helm of this Public Theater/LAByrinth Theater Company production of William Shakespeare's Othello. Purists may find that their hair is standing on end as they attend …

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Big record deal, by Frank Scheck

Those hooked on their iPods have no idea of the thrill involved in picking up a needle, setting it down on a piece of black vinyl, waiting through the inevitable scratches, and then listening to music communicated with warmth rather than digital clarity. But Colman Domingo does. In A Boy and His Soul, his account of growing up in West Philadelphia to the sweet sounds of '70s and '80s soul music, this talented performer mixes multicharacter monologue with music to exhilarating effect.

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Luck, reviewed by Mitch Montgomery

Neither a typical monologue nor a freeform performance piece, Megan Riordan's one-woman Las Vegas extravaganza, Luck, goes all in by drawing on aspects of both.

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Enron, reviewed by Lizzie Loveridge

Lucy Prebble has made theatre wait a long time for her second play since the success of The Sugar Syndrome at the Royal Court in 2003, but I would gladly wait another six years for a play only half as good as her latest. Of course with Rupert Goold at the director's helm, we knew Enron would be very exciting theatre, but even my high expectations were exceeded by this dazzlingly intelligent and physical production.

Linked From CurtainUp at 12:00AM

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