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SOURCE: "Foote's Giant Step Forward," in New York Post, January 30, 1995.
[An English-born critic, Barnes is the author and editor of several books about the performing arts. In the following favorable review, he discusses the theme of self-delusion in The Young Man from Atlanta.]
Things change suddenly, and with those changes, a life can unfurl in odd shapes, odd shapes casting odder shadows; as we recognize what we took to be true as not quite what we first thought. This is the world of playwright Horton Foote, whose plays are domestic variations on a common theme of relationships, man with his world, people with people, family with family.
The things that happen in that world are always on a human scale of possibility and disappointment. The latest variations are in The Young Man From Atlanta, given its world premiere this weekend at the Kampo Cultural Center by the Signature...
This section contains 578 words (approx. 2 pages at 300 words per page) |
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