Theater probably isn’t the right word. Performance art might be closer. Something contrived or constructed is performed, at any rate. Whatever it is, it can’t really be reviewed, or at least not by me.
How long is Jude D. “Jude D.” Russo going to wear us out with these cheeky but vapid diatribes? His most recent vanity piece, “How to Write a Jude D. Russo Review,” is the worst kind of self-fondling garbage and hopefully will mark an end of a justly uncelebrated career.
In “Honeymoon,” the candy layer that coated “Born to Die” and was already thinning on “Ultraviolence” has ceded completely to something sadder, something darker, something more bitter—and something more coherent and compelling.
Arrangements are smaller than ever; so is the music’s charm. And with a play time sitting just under a half hour, one almost gets the impression that Condon could barely pull together enough material for a full album.
While there is much contemporary theater devoted to political and social topics, the approaches vary—as do the philosophical implications. Activist theater on college campuses provides interesting illustrations of these variations.