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...MaryBeth A. Muchmore summed up her review of the play The Day of the Dogs (Arts, April 10) by accusing it of "veer[ing] a little too far into the realm of absurdity." Had the reviewer been familiar with Martin Esslin's The Theater of the Absurd, an indespensible text for anyone studying 20th century theater, she would have known that elements of the play with which she found fault are, point for point, markers of absurd theatre...
...following is the text of the letter sent to The Crimson and many associated with Phillips Brooks House Association...
...slick-looking granite building on Mt. Auburn Street that Kinko's occupies may be a text-book Boston office building, but when the late-night crowd takes over around 11 p.m. the innocent-looking copy center begins to change into club Kinko...
...journey itself, while interesting, is not the most important layer of the text, but the prose--always competent but often unremarkable--becomes iridescent when we enter Saskia's dream worlds. Initially set in fantastic locales, in dusty markets heaped high with silks and sea-bound observatories straining toward the stars, the dream and outer worlds slowly move together and come to terms over the possession of Saskia's perception...
...with Secrets & Lies, I have no idea what Hamlet is doing here, since Kenneth Branagh preened so much over not altering Shakespeare's text. Arthur Miller is a hard name to ignore, but the Academy and the public have found it in them to ignore The Crucible altogether. Not enough people understood the accents in Trainspotting to know if the script was any good. That leaves The English Patient and Sling Blade, both of which created complex characters and entire communities, and both of which have key support from the massive actors' branch...