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  Theatre in Review: Penelope (York Theatre Company/Theatre at St. Jeans)
What is it with musical theatre writers and Greek culture? From The Boys from Syracuse to The Frogs, writers and composers love to break out the sandals and togas, often tossing in a god or two. Even The Iliad and Th ...
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Theatre in Review: Suffs (The Public Theater)
Shaina Taub has one of the most distinctive musical theatre voices we have right now. Her New Orleans-style score for Twelfth Night, seen at the Delacorte Theatre a few summers ago, was a slinky, strutting delight, melding ...
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Theatre in Review: Honduras (Phoenix Theatre Ensemble/Paradise Theatre II)
Honduras is a brief, yet brutal, immersion in the chaotic and pitiless treatment of immigrants coming illegally to the US from the country of the title. Sara Farrington's script, based on real events, focuses on ...
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Theatre in Review: Plaza Suite (Hudson Theatre)
In Plaza Suite, Matthew Broderick and Sarah Jessica Parker make a lively pair of playmates and their enjoyment is contagious. They're presiding over the unlikeliest of good times, showcasing the humor of Neil ...
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Theatre in Review: Oratorio for Living Things (Ars Nova/Greenwich House)
Heather Christian's new music-theatre piece is dedicated to Carl Sagan, Carl Orff, and Carlo Rovelli; a better title might be I Tre Carlos . You may be wondering what the late astronomer, the composer of Carmina Burana ...
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Theatre in Review: Heartland (Geva Theatre Center/59E59)
Thanks to Selling Kabul and English, we have already been gifted with two gripping dramas about Afghanistan this season; now comes Heartland, a kind of dramatic jigsaw puzzle in which the pieces fit altogether ...
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Theatre in Review: 7 Minutes (Waterwell/Working Theatre/HERE)
Stefano Massini's 2014 drama finds considerable suspense in the workings of democracy, in this case a single, crucial vote among the members of a union executive committee. All are employed at an American textile factory that has ...
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Theatre in Review: Confederates (Signature Theatre Company)
Maybe it's the pandemic; having pulled through last two tumultuous years, Dominique Morisseau understandably has plenty to get off her chest. This time, however, the gifted playwright may have more on her mind than one play can ...
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Theatre in Review: Help (The Shed)
The title of Claudia Rankine's play feels a tad ironic since few leading ladies have the self-possession of April Matthis. Comfortably ensconced at center stage, exuding authority, she addresses us in a voice that works as a ...
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Theatre in Review: Alex Edelman: Just for Us (Soho Playhouse)
So, a Jewish guy walks into a white supremacist meeting and...
This is not the setup for a joke. Or, rather, it is, but isn't. In any case, in Alex Edelman's telling, it's an occasion for hilarity underlined with peril. As Edelman ...
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Theatre in Review: Garbageman (Chain Theatre)
Buddy and Dan, the clueless working stiffs who make up the entire cast of Keith Huff's new play, refer to themselves as "murky friends." By this, they mean their relationship is a sometime thing; later, when they turn to criminal ...
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Theatre in Review: what you are now (Ensemble Studio Theatre/The Civilians)
Is it scientifically possible to override one's crippling memories? Not to forget them, exactly, but, rather, to neutralize them, stripping them of their pain? If it could be done, would we be better off? These are tantalizing questions, ...
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Theatre in Review: A Touch of the Poet (Irish Repertory Theatre)
At the Irish Rep these nights, you are invited to see a man's soul stripped bare. It's a methodical process, a kind of psychological surgery conducted with alcohol (albeit plenty of it) as the only anesthetic. The result is appalling, even ...
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Theatre in Review: MJ (Neil Simon Theatre)
First, there's the dancing. Indeed, MJ, the Michael Jackson bio musical, throbs with movement -- swift, angular, a melding of tension and energy that can't help but captivate. Director/choreographer Christopher Wheeldon
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Theatre in Review: Little Girl Blue (New World Stages)
The tumultuous life and embattled career of Nina Simone would seem to be the very stuff of musical theatre, and so it proves with Little Girl Blue. Performer/playwright Laiona Michelle has crafted her own ...
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Theatre in Review: Bruise & Thorn (Pipeline Theatre Company/ART New York Theatres)
Bruise & Thorn is a glitter bomb of a play, a comedy-melodrama about LGBTQ Nuyoricans from Queens who, pursuing their dreams, get caught up in some wildly seamy doings. It's a fairy tale, really, albeit one that takes in ...
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Theatre in Review: Man Cave (Page 73 Productions/Connelly Theatre)
The thriller, it seems, is back. A just-for-fun genre that petered out decades ago, made irrelevant by hollow trickery, is being creatively appropriated by some of today's playwrights to make acute points about the current screwed-up state ...
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Theatre in Review: Debate: Baldwin vs. Buckley (the american vicarious)
A storied moment from the 1960s -- one which casts a long shadow over today's divided America -- is recreated in this theatre piece now playing at the Great Room at the ART/New York South Oxford Space in Brooklyn. It's a recreation of the ...
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Theatre in Review: This Space Between Us (Keen Company/Theatre Row)
At first glance, This Space Between Us appears to be written in English, but that's a superficial impression. In fact, the characters in Peter Gil-Sheridan's new comedy speak shtick, a dialect of English that is devoid ...
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Theatre in Review: On Sugarland (New York Theatre Workshop)
In Aleshea Harris' new play, On Sugarland is a graveyard-cum-shrine, dedicated to the many war dead from a small community, somewhere in the American South, that is home to several Black families. Less a cemetery than ...
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