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Listen to the review Director Tony Humrichouser’s production succeeds on several levels in bringing Shakespeare’s work to online audiences. This hour-long, abridged adaptation of “The Tempest” is a good fit for Zoom. The characters who inhabit or land in this magical island realm, ruled by the sorcerer Prospero, must “melt into thin air” or disappear from the stage, in this case the screen, by his command. Under his command is Ariel, the mischievous “brave spirit” and servant of Prospero, played by Ishwari Bhatt, who bedevils an assortment of fools and political enemies. Bhatt is fun to watch as she casts spells on the shipwrecked crew and foils plots against Prospero. Intentional audio distortion of Bhatt’s voice adds to the confusion she visits on those she would mislead. ....
It’s a peculiar fact that the people who most influence our lives are often those we only fleetingly encounter. Such was my reaction last week on hearing Joe Allen had died. Not an instantly recognisable name this side of the pond, but a legendary figure to anybody who ever worked in Manhattan. Owner of the famous restaurant on West 46th Street that bore his name, Joe saved my bacon during a J1 college summer a long time ago. Having fruitlessly trawled the familiar Irish pubs in search of a job, a girlfriend suggested I “shoot the moon, give Joe Allen’s a try . ....
Joe Allen, Theater District Restaurateur, Is Dead at 87 His restaurant Joe Allen and another he opened next door, Orso, have been popular hangouts for celebrities and celebrity-watchers and the flagships of an international empire. Joe Allen at his regular spot at the bar at Joe Allen, the popular Manhattan theater district restaurant he opened in 1965, before his block was christened Restaurant Row.Credit.Todd Heisler/The New York Times Published Feb. 8, 2021Updated Feb. 9, 2021 Joe Allen, who parlayed a modest pub on the edge of Manhattan’s theater district into a restaurant empire that at its height stretched as far as Paris, died on Sunday in Hampton, N.H. He was 87. ....
A strange turn occurs toward the middle of Frederick Seidel’s 2009 Paris Review interview. The poet, whom Adam Kirsch once deemed the best in the United States, describes himself as coming late to an appreciation of New York School poets James Schuyler and Frank O’Hara. Until this point in the conversation, Seidel’s distinctive sensibility snapped into place commensurate with his biography. His patrician vocabulary and profoundly conservative sense of rhyme and meter gestured toward his Harvard education and his Sorbonne classes at midcentury. Visits to Ezra Pound in 1953 (who at the time was institutionalized and warding off a treason charge for his radio broadcasts in support of Hitler and Italian fascism during World War II) and T.S. Eliot (a fellow St. Louis native who, through talent and a penchant for self-invention, acted out an Anglophile’s version of what a poet should be) taught Seidel that achievement didn’t lie solely in a moralist’s idea of virtue and ....