It’s been a good few months for catching up on the work of the playwright John Patrick Shanley. Last fall, the Lucille Lortel Theatre put on a revival of Shanley’s seedy, stormy, aggressive love story, from 1983, “Danny and the Deep Blue Sea”—a production most notable, thinking back on it, for its announcement of a new level of ambition on the part of Aubrey Plaza, who starred as the tough, lost Roberta.
Now, this spring—the Lenten timing is appropriate, perhaps, for this God-haunted writer—there’s a Shanley double bill. “Doubt: A Parable,” his Pulitzer Prize-winning drama, from 2004, about a fraught episode at a Catholic school and parish, is in revival at the Todd Haimes Theatre, produced by the Roundabout and directed by Scott Ellis. “Brooklyn Laundry,” Shanley’s newest play, a tragicomic romance about the excruciating fickleness of fate, is at Manhattan Theatre Club’s New York City Center Stage I, under Shanley’s own direction.
Esta historia es de la edición March 18, 2024 de The New Yorker.
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Esta historia es de la edición March 18, 2024 de The New Yorker.
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INSIDE JOB-"Hit Man"
Years before Hannah Arendt coined, in the pages of this magazine, the phrase \"the banality of evil,\" popular films and fiction were embodying that idea in the character of the hit man. In classic crime movies such as \"This Gun for Hire\" (1942) and \"Murder by Contract\" (1958), hit men figure much as Nazis do in political movies, as symbols of abstract evil.
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Does every generation get the Freud it deserves?
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Louis Wain and the reinvention of the cat.
Beyond Imagining
Bessie, Lotte, Ruth, Farah, and Bridget, who had been lunching together for half a century, joined in later years by Ilka, Hope, and, occasionally, Lucinella, had agreed without the need for discussion that they were not going to pass, pass away, and under no circumstances on.
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ARE WE DOOMED?
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RED LINE
With the election approaching, the U.S. and Mexico wrangle over border policy.
