American - Critic | February 6, 1956 -
There's a playwright named S.M. Berryman, Sam Berryman, who wrote these kinds of social comedies. They are actually extremely sharp and still quite provocative.
Terry Teachout
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David Cromer, from Chicago, I think is the most gifted young director in America.
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There is still a lot to be said for the well-made, witty, clever, three-act comedy.
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All of the most popular music of the '30s and '40s were deeply informed by jazz.
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I believe deeply that jazz is still a very vital music that has much to say, not just to eggheads, or whatever the musical equivalent of an egghead is, but to ordinary people.
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Tom Stoppard, the English-speaking world's brainiest playwright, thinks that British audiences have grown too dumb to understand his plays.
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It's certainly no secret that American students are taught less and less about the canonical literary masterpieces of the past, and there is no shortage of people who believe that what little they're required to learn in school is still too much.
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I feel quite confident that audiences on both sides of the Atlantic are growing 'dumber,' if what you really mean to say is 'less culturally literate.'
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I don't know anybody in the opera business who isn't worried sick about how best to reach out to underpaid millennials who were suckled on the new on-demand pop culture, which supplies them with cheap, unchallenging amusement around the clock.
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One reason why Shakespeare's plays remain so popular is that they're now regularly presented in updated stagings with a contemporary flavor.
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At its best, no art form is more thrilling than grand opera, yet none is at greater risk of following the dinosaurs down the cold road to extinction.
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In the early days of jazz, it was ensemble music: everybody playing all together. Nobody really stood out.
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