Word: lives
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Dates: during 2000-2009
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...fairly slight play (but with an intermission!), and it was frankly more comfortable on the small off-Broadway stage where it was introduced last year. But it is tight, tense and emotionally true, and it portrays characters who actually seem part of the world that the rest of us live in. Its four no-name stars (Thomas Sadoski as Greg is the empathetic standout) won't draw the crowds the way Jane Fonda and James Gandolfini do. But they're bringing to life the best new Broadway play of the season...
...estimates of the number of homeless people in America vary widely. That may be because some surveys consider people who have no home for a night to fall into the category, while others only consider those who live in a chronic state of being without their own shelter. The disparities of measurement yield numbers that are as low at 800,000 and as high as three million...
...Most people who have no income will not live in shelters or on the streets. They will move in with friends or relatives. They will only be homeless to the extent that they no long have a place of their own to live and cannot afford one. It is a form of displacement that has not been seen in America since The Depression and one which replaces the government's assistance for the individual back with the social network of the community, whether that is the community of the family or some other close knit network...
...believe, it may well lead to a sort of widespread tribalism within the United States that has never been experienced before, at least not in anyone's memory, and that may be imperative to the government's ability to render assistance to people who have absolutely no place to live. At some point, the federal welfare system could become insolvent because of the demands of those in need. The fact that people have bonds beyond their nuclear families may be the only thing that prevents that...
...part of Tony Kushner’s Pulitzer Prize and Tony Award winning play “Angels in America”—has the potential to be performed either as a riveting commentary on the height of the AIDS epidemic and what it truly meant to live as a homosexual in this time, or as a sorry excuse for intertwining the clichéd dramatic motifs of death, abandonment, love, religion, and truth. Friday’s opening on the Loeb Mainstage—directed by Sara L. Wright ’09—overflowed with...