Wrestling with Angels: Playwright Tony Kushner (Balcony) Al Franken: God Spoke (Balcony) About Tony Kushner as a playwright, debate continues. About Kushner as a human being, the matter is settled. A new documentary, called Wrestling With Angels: Playwright Tony Kushner, presents the Jacob who wrestled with angels in America, now doing most of his wrestling with devils.
By now the filmgoing world knows that Steven Spielberg has three selves. First is the self most frequently summoned, the maker of superlative entertainments (Jaws, E.T. the Extra-Terrestrial). His second self applies his talent seriously to serious subjects (Schindler's List, Amistad). The third self produces hybrids, films that use both of the other two selves (Close Encounters of the Third Kind, Saving Private Ryan). Spielberg's new film, Munich, was made by the third self.
Last week I attended a screening of Munich in Washington. The evening included testimonials to the film's cinematic power from former Clinton officials Mike McCurry and Dennis Ross, both serving as consultants to the movie's rollout, plus more praise from Princeton Professor Anne-Marie Slaughter and Foreign Policy Editor-In-Chief Moisés Naím.
Tony Kushner's new play, Caroline, or Change is a formal anomaly. It has been hailed as a breakthrough musical created by a confident professional collaborative—vigorous score by Jeanine Tesori (Thoroughly Modern Millie), lively choreography by Hope Clarke (Spunk), and dynamic staging by George C. Wolfe (Jelly's Last Jam).
On June 11, three judges in Philadelphia struck down parts of the Communications Decency Act. The decision, ACLU v. Reno, is being justly celebrated as the New York Times v. Sullivan of cyberspace, an occasion for dancing in the chat rooms. The three judges understood how the old First Amendment battles are being overtaken by new technologies; and in an endearingly self-dramatizing touch, they had their separate opinions distributed on floppy disks.