I think you overestimate our dear Viennese, my friend. You know you didn't even give them a good bang at the end of songs, to let them know when to clap?
-Salieri to Mozart in Amadeus
Ed Seigel in the Globe Today
In "Shining City," an inexperienced therapist tries to console an older man who thinks he's literally being haunted by his wife. McPherson's writing is so crisp and rhythmic, and the acting so good, that it's never anything less than a moving story about human nature in all its messiness. But it wouldn't be much more than that without the final image, which slams home what a difficult time the therapist is going to have trying to escape his own demons, and what a difficult time we will, too, if we don't face up to our fears and
The counterargument is a good artist shouldn't need such "tricks"
to underscore his or her themes. Tell that to a classical crowd after that Beethoven symphony. And aren't the final images of "2001: A Space Odyssey" or "Bonnie and Clyde" what really sear those great movies into our memory bank?
I've been thinking about the two bank robbers and their death
throes - you knew that, right? - since seeing Michael Haneke's remake of his German thriller, "Funny Games."
Warning: Comments section below contains a spoiler for the Conor Mcpherson's Shining City, (which has now closed at the Huntington, but just in case you don't want anything given away.)