Let’s face it-evil is much more interesting than good. Dante’s Inferno seduces us like a terza rima thriller; the Paradisio, by contrast, is a snooze. We relish Iago, while Desdemona whiffs of Wonder Bread, and were Little Nell to be surgically extracted from The Old Curiosity Shop, Dickens’s oeuvre as a whole would be vastly improved.
No wonder, then, that the allure of Really Bad Beings fires two of the Broadway season’s most...
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