“Life and Fate” by Vasily Grossman is one of the greatest works of 20th century literature. A new theatrical adaptation is innovative, but ultimately loses the epic’s profound meditations on good and evil.
Just in time for Election Day, actors David Strathairn and Paul Giamatti are resurrecting the formidable historical figures of Abraham Lincoln and his rival for the Senate in 1858, Stephen A. Douglas, respectively, in L.A. Theatre Works’ production of “The Rivalry,” Norman Corwin’s play about the famous Lincoln-Douglas debates.
The Royal Shakespeare Company’s production of Anton Chekhov’s “The Seagull” seems, at first, to be merely a skillful and familiar rendition of a masterpiece. But like many great works of art, the power of this production is cumulative.
In her first Truthdig theater review, actor and writer Eunice Wong takes in director David Hare’s stage production of “The Year of Magical Thinking,” Joan Didion’s haunting memoir about the sudden death of her husband (she would also later lose her daughter) and the heartbreaking mind tricks she used to try to conjure him back.