Adam Smith, unlikely hero of the stage

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THE odd politics and fraught economics of recent years have inspired all sorts of thoughtful works  for the stage. Yet many of these, such as Lynn Nottage’s Pulitzer-prizewinning “Sweat”, about struggling factory workers in Reading, Pennsylvania, and Sarah Burgess’s “Kings”, which probes the sleazy machinations of political lobbyists in Washington (at New York’s Public Theatre through April 1st), have a dutiful, anthropological quality to them. It is as though playwrights suddenly feel obliged to leave their coastal, liberal enclaves to learn more about the folks who are informing national headlines and disrupting national elections. The effect is more educational than engaging; pedantic rather than dramatic.  

This makes “The Low Road”, which is having its American premiere at the Continue reading

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