I'm delighted that "Hadestown" is having so much success this week. The proshot knocked me over. First, there is the witty costume design: the Earth tones of the laborers, the black/silvery style for the Fates, the seasonal shift in Persephone's "look." Second: the ending. The Pulitzer winner Wesley Morris--focusing on "Ragtime" and "Giant"--recently argued that new Broadway productions refuse to challenge or disturb a ticket-buyer. By contrast, "Hadestown" doesn't let us comfortably despise any of the characters. And it has a brutal ending--a courageous choice for the writers. Third: Patrick Page. I was not alone in watching the proshot and thinking Patrick Page deserved the Tony Award. Andre De Shields was excellent, AND Page still deserved the Tony win. My old writing teacher likes to say that she writes about "the space between the sidewalk and the curb." The liminal space. When you're neither here nor the...
My daughter has fallen for "The Magic Tree House," and I can see why. These books recreate the past; they are not simply history lessons. By putting Jack and Annie in the middle of a dinosaur stampede, Osborne grants every child-reader an important wish. Let me actually *travel* in space and time. The very first sentence fragment in the very first book is brilliant. "Help! A monster!" How do you beat that? Susie demands a rereading sometimes. Twice, we have wandered through "Mummies in the Morning." There is spookiness--a tomb robber, a ghost-queen, a mirage. Occasionally, there is a villain; the "pirate" segment involves a "Captain Hook" figure. What you do not find is humor, character development, or stylistic innovation. Susie doesn't mind. If the book is too frightening, Susie then needs to sleep with her door open. (In childhood, I always felt that if I covered my ear with a blanket, I would grant myself immunity from any vill...