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Noemi Berkowitz

About Noemi Berkowitz

Noemi is a contributing writer at The Seventh Row. She is a senior at Stanford majoring in theater and psychology. She appreciates tie-dye, August Wilson, learning languages, and good vegetarian food.

Noemi Berkowitz / August 22, 2019

Review: The Globe’s A Midsummer (Mid)night’s Dream

Combine Shakespeare’s Globe, Shakespeare’s most performed play, and a riotous group of groundlings (they heeded the BYOB on that RSVP) and you have all the ingredients for an entertaining night at the theatre.

Whose Streets?

Noemi Berkowitz / August 7, 2017

Review: Whose Streets? is more the story of a people than of individuals

Whose Streets? is a documentary about on-the-ground activism in the Ferguson uprising by filmmakers Sabaah Folayan and Damon Davis.

Drunk Shakespeare

Noemi Berkowitz / June 28, 2017

Drunk Shakespeare is a riveting mix of Macbeth and tequila

Drunk Shakespeare is an abridged 90-minute whirlwind version of Macbeth full of jokes, drinks, and audience participation.

Speakeasy

Noemi Berkowitz / June 15, 2017

Review: San Francisco’s beautiful The Speakeasy is more bar than theatre

San Francisco’s site-specific The Speakeasy from Boxcar Theatre invites you into a Prohibition-era haunt with amazing period costumes and design but fall shorts on story.

All These Sleepless Nights, Michał Marczak, Sleepless Nights

Noemi Berkowitz / April 3, 2017

All These Sleepless Nights is a mesmerizing look at youth culture in post-communist Poland

All These Sleepless Nights explores loneliness and liberation in a Poland finally free after decades of occupation and war.

Lovers and the Despot

Noemi Berkowitz / February 16, 2016

The Lovers and the Despot lacks substance

The Lovers and the Despot tells what should be an interesting story without doing the work to create one. It recounts a bizarre slice of South Korean cinema history: in 1978, director Shin Sang-ok and his ex-wife, actress Choi Eun-hee, were kidnapped, separately, by Kim Jung-II from Hong Kong and held for eight years. Kim Jung-Il wanted swift improvements in the North Korean film industry, and this was his solution.

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