Author Archives: Paul Kuritz

THE FALL OF THE HOUSE OF LEHMAN. THE LEHMAN TRILOGY AS GREEK TRAGEDY, AMERICAN STYLE

On February 10, 1949, Arthur Miller’s Death of a Salesman premiered at New York’s Morosco Theatre. Seventeen days later the New York Times published an essay by Miller entitled, “Tragedy and The Common Man.” From that time on, high school and college students would discuss the possibility of an American tragedy: Can a classical tragedy […]

FINE ARTS BUILDING IN AMERICAN THEATRE HISTORY

The City of Chicago proclaimed Friday, October 13, as “Fine Arts Building Day” in recognition of its 125th anniversary year. The Fine Arts Building also played a significant role in the history of the American theater by hosting the landmark Chicago Little Theatre. When the Fine Arts Building opened in 1885 as a Studebaker automobile […]

DIRECTOR RE-WRITES FLYING DUTCHMAN

Director Terry McCabe has written brilliantly about the director’s historical obligation to a dramatic  text: “I believe the director’s job is to tell the playwright’s story as clearly and as interestingly as possible.”[i] The operas of Richard Wagner debuted in Chicago with Leonard B. Grover (1833-1926) whose company first performed a Wagnerian opera in the […]

STEPPENWOLF’S NO MAN’S LAND: THE HOSPITALITY OF HIRST

As a theater student in college during the 1960s, nothing excited my classmates and me as much as a new play by Harold Pinter. When we found a new Grove Press copy of the latest Pinter play, we would gather on the steps of the theater building, randomly assign roles, and begin a reading. The […]

BEETHOVEN, MUTI, AND THE GLORY OF GOD

For his final concert as Musical Director of the Chicago Symphony Orchestra Riccardo Muti chose Beethovan’s Missa Solemnis. He has compared  Beethoven’s Missa solemnis to “climbing Mount Everest. It is the greatest religious sermon in music. It is the Sistine Chapel of music — a work so complex that it makes every interpreter’s wrists tremble.” The Missa […]