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In the theatre world, this same rule holds true for adaptations. Unfortunately, Neil LaBute's current adaptation of August Strindberg's Miss Julie is a lackluster affair, and miscasting in the Geffen Playhouse production hurts it further. In LaBute's
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Good looks, especially in men, mean that you're a privileged, caddish user. How appropriate then that LaBute's adaptation of August Strindberg's Miss Julie, being given its world premiere at the Geffen, should find helmer Jo Bonney casting an actor
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In the past year, we have been treated to a slew of high-profile French, South African and home-grown takes on Strindberg's 1888 masterpiece. But it would be a shame if theatregoers felt too Miss Julie -ed out to brave this stunningly left-field
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Edward Albee's Who's Afraid of Virginia Woolf, noted Swedish playwright August Strindberg's The Dance of Death offers no leavening properties as does Albee's final scene. However, Mike Poulton, the playwright and adaptor of the current production
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Carol Rosegg The Dance of Death Daniel Davis, left, and Laila Robins in Strindberg's marital slugfest, at the Lucille Lortel Theater. Carol Rosegg Mr. Davis, left, and Derek Smith in Red Bull Theater's three-person adaptation of Strindberg's Dance of
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An edgy, sometimes harrowing new adaptation by Mike Poulton, presented by the always-adventurous Red Bull Theater, opened Thursday night off-Broadway at the Lucille Lortel Theatre, where the 19th-century marital battles are as resonant onstage as
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Yet when the dreams of others are recounted to us, so much gets lost in translation. Or, to put it more plainly: suffering through someone else's jump cuts and surreal metaphors can be tedious as all get-out. Follow @NYTimestheater for theater
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When August Strindberg wrote A Dream Play, in 1901, he was mentally shaky, having just emerged from a bout of paranoid psychosis. This may explain why the plotless work is a lot more freeform than a masterpiece like Miss Julie. The vignettes in A
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What then to make of Easter, a rarely seen play revived by the August Strindberg Repertory Theater ?...In it a disgraced family seeks redemption, and the sense of optimism is so strong that you may find yourself expecting a last-minute suicide...And
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Strindberg's essential master/slave dynamic is reinstated with a breathtaking vengeance now in Mies Julie , an adaptation that transplants the proceedings to post-apartheid South Africa and to the hot, steamy kitchen of a farm in the semi-desert
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