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Previous Articles on Theater
The Performance Art of Itamar Moses
(4/18/2008)
The Playwright as Anthropologist, Observing the Professoriate
(11/23/2007)
Sarah Ruhl's Whimsical Hauntings
(7/20/2007)
An Awakening for Broadway?
(6/1/2007)
Eugene O'Neill's America
(5/4/2007)
Personal Politics in the Plays of David Hare
(12/15/2006)
Stoppard's Revolutionary Thinking
(11/17/2006)
Ibsen's Relevance and Influence Endure
(9/22/2006)
On the Stage, History Belittled
(9/1/2006)
Caryl Churchill's Identity Crises
(5/26/2006)
A Fetish for Alienation
(5/5/2006)
Wendy Wasserstein (1950-2006)
(2/17/2006)
Queer Eye For The Big Sky
(11/11/2005)
Pinter's Plays, Pinter's Politics
(11/11/2005)
'Measure for Measure,' Production for Production
(9/3/2004)
Shakespeare's Henriad in an Era of Regime Change
(12/19/2003)
Art and Betrayal
(4/25/2003)
Hellman and McCarthy: Parallels and Crossings
(12/13/2002)
A Crotchety Benedict Arnold
(12/6/2002)
High Seriousness, High Comedy
(6/28/2002)
Stephen Sondheim: Exploring Our Myths
(5/10/2002)
Seduced? No, Just Abandoned
(5/3/2002)
Quantum Reflections
(4/26/2002)
Pale Fire of a New 'Crucible'
(3/29/2002)
Edward Albee Finds a New Audience, or It Finds Him
(3/22/2002)
The Tricky Art of the Dark Musical
(2/8/2002)
On Screen, On Stage: the Double Virtuosity of Andrew Bovel
(2/1/2002)
'Homebody/Kabul': Overtaken by History
(1/18/2002)
Brustein: Center Stage for Better and Worse
(9/21/2001)
The Great Weill Way
(7/27/2001)
A Good Director Doesn't Need a Dramaturg
(6/29/2001)
When Plays Touch on History, What Is Truth?
(6/1/2001)
To Be Effective, Historical Drama Must Bring the Point Home
(12/8/2000)
On Prospero's Island, Deaf and Hearing Students Learn to Act Together
(7/14/2000)
There's No Revolution Afoot in American Musical Theater
(6/30/2000)
Uncertainty Is Certain in Mathematics and Life
(6/23/2000)
Frayn's 'Copenhagen' Plays Well, at History's Expense
(5/5/2000)
The Art of Making Theater: 2 Views
(3/3/2000)
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