Ed Rampell: This comedy, obviously, is much more concerned with its characters’ sex lives than, say, with a little thing like Trotsky’s theory of Permanent Revolution (which I don’t believe is ever mentioned by name onstage).
Ed Rampell: To paraphrase the Bard: Toga or not toga? Transforming a period piece or classic into a modern dress work with contemporary costuming, dialogue, references and, perhaps, themes is tricky business.
Ed Rampell: George S. Kaufman and Edna Ferber’s 1927 The Royal Family is a love letter to the act of acting, and, in particular, to the actors and actresses who trod the boards and appear onscreen.
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Ed Rampell: This progressive picture is about the Chinese-American woman whom Angela Davis declares onscreen to have “made more of a contribution to Black people than most Blacks.”
Ed Rampell: Winter in the Blood imparts an excellent sense of the impact this foreign invasion and occupation has had on America’s aboriginal inhabitants.
Ed Rampell: Yes, Prime Minister’s bristling dialogue is decidedly political and full of humorous social commentary about the British power elite, plus the expediency and opportunism that characterizes affairs (figuratively and literally) of state.
Ed Rampell: Bellocchio is still pushing the proverbial envelope — his latest offering, Dormant Beauty, sort of combines the searing look at sickness and hard hitting politics of his first two features with yet another forbidden subject.
Ed Rampell: “Our Nixon” is a compilation film by Penny Lane about the only U.S. President (so far!) who resigned and had to leave that office is disgrace.
Ed Rampell: This behind-the-scenes expose of the banksters and their nefarious high finance manipulations and machinations is a fictional, highly entertaining counterpart to Oscar winning documentary Inside Job, about Wall Street’s massive defrauding of the people — at taxpayer expense.
Ed Rampell: One Night in Miami… has a deliciously enticing “what if?” notion based on limited documentation regarding what really happened behind closed doors after Cassius Clay (the appropriately irrepressible Matt Jones) whooped Sonny Liston in the Sunshine State.
Ed Rampell: “Hark! What light breaks through yonder canyon?” Why, it’s none other than another repertory season of revels and revelations at Will Geer’s Theatricum Botanicum, made glorious summer by these sons and daughters of Geers.
Ed Rampell: The bioplay, expertly acted by Ruskin, reveals that Paine was a sort of Trotsky of the American Revolution — the world revolutionary who wound up as a prophet outcast.