|
  Theatre in Review: Jordans (Public Theater)
In one of Jordans's sharpest, funniest sequences, the staff of Atlas Studio, "a full-service rental studio and production facility," are planning a launch party for a line of watchbands designed by a rapper named L'il ...
|
|
|
|
|
Theatre in Review: Patriots (Ethel Barrymore Theatre)
Peter Morgan's latest political thriller rests on the solid foundation of two sharply different antagonists. Russian oligarch Boris Berezovsky, who has just purchased as his latest shiny toy the state television network, looks ...
|
|
|
|
|
Theatre in Review: Suffs (Music Box Theatre)
Maybe one of the awards-giving bodies should create a new category: Most Improved New Musical. In that event, Suffs would take the crown. When it opened at the Public Theater in 2022, this chronicle of the campaign for women's ...
|
|
|
|
|
Theatre in Review: Stargazers (Page 73 at Connelly Theatre)
Stargazers is either terrible or the work of a writer with an entirely original sensibility -- I don't know which. Then again, even when I started to balk at Majkin Holmquist's play, I was never bored. I was also, ...
|
|
|
|
|
Theatre in Review: Orlando (Signature Theatre)
Virginia Woolf's prose is a lily that needs no gilding, but Will Davis' production applies plenty of shellac anyway. The occasion is Sarah Ruhl's adaptation of Woolf's celebrated novel, a picaresque epic rooted in shifting ...
|
|
|
|
|
Theatre in Review: The Outsiders (Bernard B. Jacobs Theatre)
It's only when The Outsiders gets ready to rumble that the new musical at the Jacobs starts to show a real pulse. In its climax, the rival gangs Greasers and Socs square off for control of a public park. (In case you're one ...
|
|
|
|
|
Theatre in Review: Lempicka (Longacre Theatre)
The new musical Lempicka reveals its kooky intentions right at the top: Eden Espinosa -- currently, the hardest-working woman in show business -- enters as the elderly Tamara de Lempicka, once a notorious artist and ...
|
|
|
|
|
Theatre in Review: Still (DR2 Theatre)
Beware of exes' reunions; they can lead to unexpected repercussions. That's the big takeaway from Still, a slender two-hander that, with some success, mirrors the challenges of living and loving in our disunited world. Helen ...
|
|
|
|
|
Theatre in Review: The Wiz (Marquis Theatre)
"So you wanted to meet The Wizard!" So sings Wayne Brady at the Marquis, stepping out of a weird green structure that looks like a chess piece or maybe a perfume bottle. (Ozian architecture, it seems, has touches of both Dr. Seuss ...
|
|
|
|
|
Theatre in Review: Agreement (Lyric Theatre, Belfast at Irish Arts Center)
There's a moment late in Agreement that sums up the entire tense, fractious, and thoroughly engrossing proceedings at the Irish Arts Center. Owen McCafferty's script focuses on the negotiations to end the Troubles, ...
|
|
|
|
|
Theatre in Review: Sally and Tom (The Public Theater)
Suzan-Lori Parks's new play is most interesting when the characters stop talking to each other and confront the audience. Tom, you should know, is Thomas Jefferson, the third president of the United States and a lifelong slaveowner ...
|
|
|
|
|
Theatre in Review: Scarlett Dreams (Greenwich House Theater)
My one takeaway from Scarlett Dreams: Andrew Keenan-Bolger needs to do an exercise video. In the amusing opening sequence, the actor, cast as Kevin, a one-hit-wonder playwright, is discovered parked on his couch, ...
|
|
|
|
|
Theatre in Review: Las Borinqueñas (Ensemble Studio Theatre)
Las Borinqueñas is one of the most ambitious plays we've seen this season, which is why it is among the more disappointing. Playwright Nelson Diaz-Marcano has seized upon a fascinating, complex, and sometimes shameful ...
|
|
|
|
|
Theatre in Review: Macbeth (an undoing) (Theatre for a New Audience)
This new take on the Scottish Play began with a commonplace insight: The writer and director Zinnie Harris has noticed that in Shakespeare's tragedy, Lady Macbeth, who comes on strong in the early scenes, plotting the assassination ...
|
|
|
|
|
Theatre in Review: Grief Hotel (Clubbed Thump at the Public Theater)
Say hello to Bobbi, a lady of a certain age working on a marketing pitch to a hotel chain, positioning it as an attractive place to decompress after tragedy. Employing standard advertising-industry practice, she presents the fictitious ...
|
|
|
|
|
Theatre in Review: Philadelphia, Here I Come! (Irish Repertory Theatre)
The nimblest double act in town consists of David McElwee and A.J. Shively, who collectively appear as the protagonist of Brian Friel's melancholy comedy. (Philadelphia, Here I Come! put Friel on the map, ...
|
|
|
|
|
Theatre in Review: The Who's Tommy (Nederlander Theatre)
The Who's Tommy is back, as big and shiny and empty as ever, ready to overwhelm the audience with sound and fury signifying very little. It's also looking a little long in the tooth. Adapted from the famous concept album, ...
|
|
|
|
|
Theatre in Review: Tuesdays with Morrie (Sea Dog Theatre/St. George's Episcopal Church)
There's something unexpectedly profoundly moving about Len Cariou's first entrance in Tuesdays with Morrie. The eighty-five-year-old actor, who now uses a cane, is escorted into the chantry of St. George's Episcopal ...
|
|
|
|
|
Theatre in Review: Travels (Ars Nova)
James Harrison Monaco may be the most helpful playwright in town. His new piece, Travels, is billed as "a sonic narrative collection," a term that could mean so many things, some of them distinctly unappealing. For a ...
|
|
|
|
|
Theatre in Review: Stalker (New World Stages)
I am in the unhappy position of writing a review of a show about which I can tell you virtually nothing. Indeed, almost everything about Stalker is on a need-to-know basis. Here goes: Peter Brynolf and Jonas Ljung
|
