Word: schulz
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Dates: during 2000-2009
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David Michaelis presents a thorough, endearing, but somewhat glossy story in “Schulz and Peanuts: A Biography.” Because the “Peanuts” comics hold such a dear place in the hearts of readers and such a central place in the existentialist popular culture of Eisenhower’s America, Michaelis runs the risk of exposing too much about the creator and his underlying insecurities, fears, and shortcomings. People, after all, are usually not interested in seeing the puppeteer’s face when they watch a puppet show. Unfortunately, though Michaelis does...
Beset with a heavy and apprehensive heart, Schulz upsets the seemingly ordinary scene with a philosophical monologue on time...
...play opens on a traditionally domestic scene in early twentieth-century Eastern Europe. Schulz daubs a gauzy beige cloth with paint, engrossed in his artwork...
...Although Schulz appears in the play as a character portrayed by Matthew Glassman, Klein also draws upon actual objects surrounding his life, having come across many of Schulz’s drawings, etchings, and correspondence on a research trip to Poland...
...beauty of “Republic of Dreams” ultimately lies in its spontaneity and life, as Schulz uses his art to prevail against the sense of horror that underlies the play. The remarkable originality of the production allows us, too, to take part in Schulz’s strange and powerful fantasies...