We asked each of our writers to cast their thoughts as “bravos” and “boos.” As you’ll see, some of them found it easier to do than others. Be that as it may, we proudly present essays by Ken Herman, Kris Eitland, Bill Eadie, David Dixon, Martin Jones Westlin, and Welton Jones.
La Jolla Playhouse
When a corporation grows old and loses energy, a popular plan is to take it over with money borrowed against its liquidation profits, then strip it for profit. That’s the business of high-risk or “junk” bonds and it can make people rich, if they don’t care about what’s ethical, legal or decent. In a tough, well-mounted new drama at the La Jolla Playhouse, Ayad Akhtar elaborates.
When a corporation grows old and slows down, one plan is to take it over borrowing its stock against the value that can be stripped from its wreckage.
The tiger probably is metaphorical because that’s the way this story is told. But the question keeps intruding: Who are these people and how did they get in this mess.
The avid fans of silent films couldn’t always separate the fantasy from the reality up there on the screen and censors were hurting business. With morals charges and even murders multiplying, the studios decided to hire their own censor and ‘the Hays Office’ was born, just in time to do damage control of one of Hollywood’s most enduring cold cases.
Two girls kiss passionately in the poetic rain and World War I Europe loves it. But Sholem Asch’s play “The God of Vengeance’ doesn’t fare as well in New York, where the English-language version is busted on Broadway. Paula Vogel and Rebecca Taichman ponder the story in a nimble drama at the La Jolla Playhouse.