Three from London by Jack Richardson Betrayal, Harold Pinter's new play, is quite different from the main body of his work. It is not filled with…
How Not to Do Shakespeare & How Not to Write a Play by Jack Richardson By now it should be well known that the much-anticipated and short-lived production of Richard III with Al Pacino in…
Freak Shows by Jack Richardson The protagonists of the two most successful dramas this season on Broadway, Whose Life Is It Anyway? and The Elephant…
Class Struggle on Broadway by Jack Richardson Since the late 50's, the English theater has been staging contemporary studies in class warfare. Spokesmen for those whom Max…
Brechtian Papp by Jack Richardson A half-century has now passed since The Threepenny Opera was presented for the first time at the Schiffbauerdamm Theater in…
The Surprise of “Streamers” by Jack Richardson I went to Streamers with reluctance. The only other play by David Rabe that I'd previously seen, Sticks and Bones,…
Alas, Poor Hamlet by Jack Richardson Is Hamlet, as T. S. Eliot concluded, ultimately an artistic failure, a work of unintegrated parts and layers, of mismatched…
A Dialogue on “Travesties” or, the Impotence of Being Ernest by Jack Richardson The flat of Algernon Moncrieff III on East Seventy-Third Street. The room has a faded elegance about it, as does…
Humboldt’s Gift, by Saul Bellow by Jack Richardson Free style and fixed categories, will and idea, mental geography and urban reality, odi et amo, the heart's reasons and…
Looking Back at “The Waste Land” by Jack Richardson In his preface to the publication of a facsimile and transcript of the original drafts of The Waste Land, Ezra…
Our Actors and Theirs by Jack Richardson At the Actors' Studio some years ago I listened to a discussion that had as its subject national styles of…
The English Invasion by Jack Richardson Each year the American theater season becomes less and less a result of native effort and more and more indebted…
