The liberal media's reliable "rock star" metaphors are breaking out for the 2020 campaign. In Sunday's Washington Post, theatre critic Peter Marks witnessed Elizabeth Warren speaking in Tempe, Arizona and professed to be "moved," declaring Warren the "Springsteen of campaign 2020."
Sunday's Washington Post pushed the new liberal sensation on Broadway: a play called What The Constitution Means to Me, written by Heidi Schreck. Here's your spoiler on the plot: the Constitution has never been great. In March, NPR's Fresh Air promoted Scheck under the headline "How Women Have Been 'Profoundly' Left Out Of The U.S. Constitution." Post drama critic Peter Marks marked the play's success by channeling the thrills Harvard professor Laurence Tribe got up his leg over the whole thing.
If liberal activist and filmmaker Michael Moore thought his Broadway play -- entitled The Terms of My Surrender -- would draw rave reviews from fellow progressives who would be “galvanized” into taking out Republican President Donald Trump, he was sadly mistaken. While New York Times theater critic Jesse Green claimed the play, which opened on Thursday at the Belasco theater, “is a bit like being stuck at Thanksgiving dinner with a garrulous, self-regarding, time-sucking uncle,” Peter Marks of the Washington Post asserted that “Michael Moore should leave Broadway to the pros.”
Washington Post drama critic Peter Marks made a splash in their Sunday Arts section touting how America's musical-theatre sector is taking on the "nativist wave" coming from Donald Trump. From a revival of West Side Story to the hip-hop Founding Father musical Hamilton, actors are taking to the stage to underscore how American the newest Americans are:
Liberals love to hate Rupert Murdoch. The federally funded Kennedy Center in D.C. even imported an Australian play that fervently imagines Murdoch’s powerful life on stage. Andrew Beaujon at Poynter Media Wire reported at the Thursday performance he attended, “applause broke out on my right and left when one character criticized Republicans.”
For all of the ardor liberals muster against Murdoch’s tabloid newspapers and Fox News and their grasp of the facts, is it surprising that this play doesn’t restrict itself to the facts? Director Lee Lewis explained the play is a “fantasia” against the right-leaning media baron:
Washington Post drama writer Peter Marks reported Thursday that the Arena Stage company, known in recent years for putting on Kathleen Turner honoring a leftist in “Red Hot Patriot: The Kick-Ass Wit of Molly Ivins,” will stage the world premiere of a three-actor drama in which the main character is conservative Supreme Court justice Antonin Scalia.
“The Originalist,” by D.C. playwright John Strand, is slated for its premiere on March 6, 2015, and will star Edward Gero , known for, among other roles, playing “Scrooge in Ford’s Theatre’s annual ‘A Christmas Carol’ — as the politically conservative justice.” Marks used the C-word for Scalia, but couldn't manage the L-words for Ivins.
Mike Daisey shamelessly lied about Apple's abuse of factory workers in China on stage, which was then picked up by the trendy public-radio show "This American Life," which airs on many NPR stations. It caused a black eye for NPR (by their one-degree association), but The Washington Post has proclaimed Daisey's "voice" is too important to shame off the stage.
Post theatre critic Peter Marks announced Sunday that "after days of wrestling with what’s been found to be Daisey’s dysfunctional relationship with candor, when I have felt angry and a bit betrayed — you put your own reputation on the line when you embrace someone else’s in a review — I’ve settled on a sense of solidarity with Shalwitz." That's Howard Shalwitz, artistic director of Washington's Woolly Mammoth theater, which plans to put "dysfunctional" Daisey back in the spotlight.
Someone in Washington has staged a play on being black and gay titled “Booty Candy,” and unsurprisingly, Washington Post drama critic Peter Marks is there to provide the blurb: “Funny, smutty, and on the whole, enticingly subversive.” The Post picture showed a black male preacher in glittery drag in front of a cross.
What Marks fails to reveal in this review: frontal male nudity on stage, a display of the show’s title, apparently. Anthony Weiner should be envious. The blog The Education of Jarvis Slacks appreciated the cultural education:
On today's Style section front page, Washington Post theater reviewer Peter Marks gave unqualified praise for "Oy Vey In a Manger," a production at the Jewish Community Center in Northwest D.C. that features irreverent parodies of traditional Christmas and Chanukah songs in a ribald fashion:
Don they now their gay apparel! In an ecumenical display of wicked joie de vivre, the Kinsey Sicks are sending up everything that's holy in "Oy Vey in a Manger," a raunchily audacious declaration that nothing about the holidays is sacred.
If you haven't made the acquaintance of the Kinsey Sicks, it's high time you did. (Warning: for immature mature audiences only.) They're at Theater J through Jan. 2, and while other festive events may be decked out in red and green, theirs is of a bluer variety.
It's all good, the humor is equal-opportunity, offensive to Jews and Christians, Marks approvingly writes:
Kathleen Turner is starring on stage in Philadelphia as the leftist writer Molly Ivins, and The Washington Post promoted the show on Sunday -- and noted that one of the Ivins-adoring playwrights was a former Post staffer:
"Red-Hot Patriot: The Kick-Ass Wit of Molly Ivins" is a 75-minute foray into the psyche of a sassy commentator perhaps most celebrated for a single word: "Shrub," the withering nickname she gave to George W. Bush, a politician who symbolized for her all that seemed wacky in the reward system of American politics.
Written by a pair of newspaperwomen -- Bethesda-based Margaret Engel, a former Washington Post staffer, and her twin sister Allison, communications director at the University of Southern California -- the play styles Ivins as a live-wire wit who, in her profane, folksy way juiced up the public discourse. (You may recall that the first of her books was titled, "Molly Ivins Can't Say That, Can She?") And she accomplished this from a perspective honed far from the Beltway.
The Washington Post takes up anger-spewing leftist Sandra Bernhard Friday, and explains the sheer joy of watching her unload venom on Sarah Palin. Theatre reviewer Peter Marks began his review on the front page of the Style section: "No one does angry funnier than Sandra Bernhard.