By Prof. Robert Brustein
Millennial Stages files Brustein’s considering at the vital concerns roiling the nationwide soul” first and foremost of the twenty-first century. His starting part explores the connections among theater and society, theater and politics, and theater and faith, and it's via studies of such landmark productions as The Producers and Spamalot, Long Day’s trip into evening and King Lear. In his ultimate part, Brustein displays on humans and locations of value on the earth of theater at the present time, together with Marlon Brando and Arthur Miller and Australia and South Africa.
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Additional resources for Millennial Stages: Essays and Reviews 2001-2005
My review concluded with a mock challenge to Kerr. I oﬀered to stop covering Broadway musicals if he would agree to stop reviewing serious oﬀ-Broadway works. Kerr treated my proposal with the disdainful silence that it probably deserved. And he was even more lofty when, after abandoning my critic’s job for the next thirteen years, I moved to New Haven to start the Yale Repertory Theatre. Kerr wanted to come up to review some of our productions. I wrote to him that these were essentially workshop projects of a developing company that should not be subjected to the hit-flop standards of the commercial theatre.
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Bustling in the kitchen is The Rebirth of Political Theatre his wife Emma ( J. Cameron-Smith)—overfrying the bacon and overwatering the plants while she probes her husband about the unidentified friend who is staying in the basement. This mystery man turns out to be Haynes (Frank Wood), a frightened, vaguely lobotomized milquetoast who is later revealed to be an employee on the run from some initialized government agency (“DMDS” or “SSCI” . . “Something like that”). Eventually, Haynes admits to having been contaminated by plutonium in a nuclear accident (hence the title, after Pluto the Roman God of Hell), and proves it by leaving a luminous trail and emitting blue electric fizzes whenever he is touched.