At CES in January, I came across the Under Armour booth complete with high-tech sneakers.
In the flimsy privacy of the booth, under last summer's tinsel, I made my mark.
In 1942, while working on those masterpieces, O'Neill also wrote his last one-act play, "Hughie" (in revival at the Booth, under the noteworthy direction of Michael Grandage).
The aphorism came to mind as I was watching the Gate Theatre production of the four eloquent monologues on the paradox of talent which make up Brian Friel's "Faith Healer" (imported from Dublin to the Booth, under the elegant direction of Jonathan Kent).
So, when you go to see Edward Albee's 1962 masterwork, "Who's Afraid of Virginia Woolf?" (in revival at the Booth, under the brilliant and original direction of Pam MacKinnon), for the first time, you feel what thousands of coupled people before you have felt: a mixture of relief and shame.
The search for a more perfect union of a different kind is the subject of "Thurgood" (at the Booth, under the direction of Leonard Foglia), which uses the trope of a lecture at Thurgood Marshall's old law school — Howard University — to bring us news of Marshall's heroic fifty-year endeavor to win justice and equal opportunity for African-Americans.
Gray's first West End hit, "Butley" (written in 1971 and now in revival at the Booth, under the direction of Nicholas Martin), draws on his early experiences as a lecturer in English literature at the University of London and proves him to have been an early connoisseur of his own collapse.
Sure, one gallery would try to be sloppy and punk with paintings leaning against the wall under other paintings while the booth next to it might be minimal and sleek with lots of space around each artwork.
The simian couple made up for being late by dancing and chatting until 4 a.m., staying close to their table under the D.J. booth.
