428 stories by "Robert Cushman"
Robert Cushman: In the concluding stages you forget the trappings and get caught up in the story, which I guess is the intention
Robert Cushman: This Sleeping Beauty, recognizably a Ross Petty production even without Petty on stage, has many things going for it
Robert Cushman: Three narrative streams flow through the play, feeding into one another
Robert Cushman: All these characters, plus the subsidiary ones that all the actors take on, add to a mosaic of people coming together and recoiling from differences
Robert Cushman: I have been visiting New York for 50 years, and have never fallen out of love with it. Right now, I love it more than ever
Robert Cushman: This isn't one of those American plays in which family members yell at one another while pulling skeletons out of cupboards
Robert Cushman: As the plot proceeds and conflicts get underway, the dancing takes on real dramatic power
Robert Cushman: The accomplished actor and playwright presents Acquiesce, the opening production in Factory Theatre's season of plays by authors of colour
Robert Cushman: They execute their maneuvers with charmingly casual grace, and some of the feats are breathtaking. They put the audience in a pleasurable trance
Robert Cushman: It closely resembles Harold Pinter's Betrayal, which moved steadily back in time to explain, or at least illuminate, its initial situation
Robert Cushman: Tomson Highway returns with a more modest work, a show whose principal revelation is that he is a first-rate piano player
Robert Cushman: It offers equally glorious singing, plus inspired and meticulous staging by the British director Richard Jones
Robert Cushman: Beckett is very much about obedience, while a play by Athol Fugard rooted in autobiography may move you to tears
Robert Cushman: We respond to the writing, though, less for its own sake than as one element in a tightly-wound theatrical experience
Robert Cushman: It withholds information so that it can have a second act while devoting most of its first to having the characters tell each other what they already know
Robert Cushman: Nothing On is an old-school British caper revolving, at a furious rate, around doors and underwear and sardines
Robert Cushman: The Shaw's strength, like Stratford's, has always been its comparative permanence
Robert Cushman: The play gets an excellent revival from a new outfit, Shadowtime Productions, directed by Dan Spurgeon on a set
Robert Cushman: There cannot be many writers like Albee, who commenced operations half-way through the 20th century and were still going strong at the dawn of the 21st
Robert Cushman: This isn't the most spectacularly performed Second City show ever, but it may be the best written, at least in recent years
Robert Cushman: Debra Hanson's sets are all right for the vernal second act, and very strange for the urban first one, which is dominated by a line of smoke-stacks
Robert Cushman: It's one of those in which he seems to be looking back on his achievements and wondering if they were worth it
Robert Cushman: The legendary circumstances of the original run may have given the play a critical status in excess of its actual merits
Robert Cushman: Every word, every wince, every nervous smile is perfectly timed, perfectly true: wit in the service of feeling
'Most of the action takes place in Scotland, where the accents seem based on the idea that incomprehensibility is automatically funny'
