Word: genet
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...extravagant gestures, confronting the audience with stylized, scatological invective. It is like being back in the rumble seat of '60s performance art, but with a raw poetic urgency. Other English play wrights may update Shaw; Berkoff wants to be an East End blend of Sam Shepard and Jean Genet. West, the first of his plays to infiltrate the West End, can be seen as a new West Side Story. Mike (Rory Edwards), leader of a quintet of Hackney toughs, challenges a rival gang boss to one-on-one combat and just barely lives to tell the tale. Berkoffs twist...
Fuentes, who told. The Crimson in 1981 "I must write," has penned ten novels, three plays, and a host of critical essays, including commentary on Melville, Faulkner, Bunuel, and Genet. His first novel, "Where the Air is Clear," appeared...
...Sister in This House by Wendy Kesselman had its genesis in a famous French murder case that inspired Jean Genet's The Maids. In 1933, in Le Mans, Léa and Christine Papin killed their employer, Mme. Lancelin, and her daughter. Kesselman has retained the names of the sisters, but otherwise the play is very much her own. The playwright focuses on mother-daughter relationships, intimate sisterly affection and a rigid class structure that borders on the feudal droit du seigneur...
...Mary's retinue assembles, the pace quickens, and the play resembles a Marx brothers script co-authored by Genet and Brecht. As ladies in waiting attend the Queen, they are addressed from the rear by fornicating lackey-lovers. When Mary calls for her dogs, a bevy of stuffed canines are propped up before her. She chooses to disremember that she once had a hound killed for losing the scent in a foxhunt. Like unskilled pickpockets, her attendants try to plunder her last remaining jewelry. A marvelously comic doctor-apothecary team (John Bottom and Ron Faber) get the Queen deliriously...
Sometimes, as in the case of Janet Flanner, this urge to self-censorship makes for a rather opaque style of revelation. Writing for a half-century under the pen-name of "Genet" for The New Yorker, Flanner generally focused her discriminating eye upon the social and artistic elite of Europe. Her work often recalls the advocacy for taste and manners so prominent in the pioneering efforts of Addison and Steele; at other times, Flanner inserts herself neatly into the turmoil of the age, observing a bankrupt Berlin of 1931 or reflecting upon the fate of Warsaw some time after...