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  Theatre in Review: The Apiary (Second Stage/Tony Kiser Theatre)
In The Apiary, the state of the climate is disastrously fragile, almost as much as playwright Kate Douglas' knack for dramatic construction; as it conclusively demonstrates, a provocative premise can take a writer ...
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Theatre in Review: I Love You So Much I Could Die (New York Theatre Workshop)
I Love You So Much I Could Die is an avant-garde work in reverse; instead of breaking new ground for more eloquent expression, writer/performer Mona Pirnot, aided by director Lucas Hnath, wraps herself in so ...
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Theatre in Review: Spiritus/Virgil's Dance (Rattlestick Theater)
Spiritus/Virgil's Dance finds writer-performer Dael Orlandersmith in a minor key, so much so that I wonder if theatre is the right format for it. In pieces like Until the Flood, Forever, and Horsedreams ...
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Theatre in Review: On Set with Theda Bara (Transport Group/Lucille Lortel Theatre at The Brick)
I don't know, of course, but I have long suspected that David Greenspan is a practitioner of The Delsarte System of Expression, and, having seen On Set with Theda Bara, I am now convinced of it. François Delsarte, as ...
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Theatre in Review: Between Two Knees (Perelman Performing Arts Center)
Between Two Knees introduces us to The 1491s, a self-described "intertribal indigenous sketch comedy troupe," whose work has been disseminated on TV, radio, and online. The show at the Perelman highlights the company' ...
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Theatre in Review: Munich Medea: Happy Family (PlayCo/WP Theater)
We've all encountered stories of sexual abuse, both in fact and fiction, but few are as bizarre or disturbing as the triangle that makes up Munich Medea: Happy Family. In her first effort, the playwright Corinne Jaber ...
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Theatre in Review: you don't have to do anything (HERE Arts Center)
"I forget a lot," says Teddy, the protagonist of you don't have to do anything. "I have a terrible short-term memory." Well, maybe, but in truth that comment is the first move in an elaborate game of Who Do You Trust? On ...
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Theatre in Review: Russian Troll Farm (Vineyard Theatre)
In Russian Troll Farm, Christine Lahti is the kind of boss guaranteed to make any HR manager spontaneously combust. Whippet-thin in a series of tailored pantsuits, her cascading hair like bird wings at rest, she rules her ...
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Theatre in Review: The Connector (MCC)
A slow season for musicals -- so far, that is; hold on for the spring onslaught -- gets a jolt with this tart tale of journalistic scandal, unfolding in the sunset of magazine publishing's golden era. The Connector isn't ...
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Theatre In Review: Jonah (Roundabout Theatre at Laura Pels Theatre)
In the program for her new play, Rachel Bonds notes that its time frame is "the past and the present. But everything is slippery." That's putting it mildly. Among the many questions you're likely to be asking yourself at the Laura ...
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Theatre in Review: Days of Wine and Roses (Studio 54)
Having opened at Atlantic Theater Company last summer, Days of Wine and Roses transfers to Broadway with two major problems intact. The first is the challenge of dramatizing its subject. The musical, you will remember, is ...
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Theatre in Review: Aristocrats (Irish Repertory Theatre)
In Aristocrats, the past isn't just another country; it is indescribably distant. Casimir, a representative of faded Irish gentry, is the custodian of his family's history, which he curates, in detail, to Tom, a visiting ...
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Theatre in Review: White Rose: The Musical (Theatre Row)
The story of The White Rose is nearly always worth telling, although, as the current version shows, how you tell it makes all the difference. A group of university students in Nazi Germany, its members risked (and mostly lost) their lives ...
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Theatre in Review: Public Obscenities (Theatre for a New Audience)
In its initial engagement, last season at Soho Rep, Public Obscenities was acclaimed and laden with awards, for reasons that are easy to see. (It has been a magnet for theatre companies; NAATCO co-produced with Soho Rep and ...
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Theatre in Review: The Greatest Hits Down Route 66 (New Light Theater Project/59E59
Like the poor, the jukebox musical is always with us, but when one comes along displaying real ambition and a distinctive point of view, attention must be paid. I won't pretend that The Greatest Hits Down Route 66 is a ...
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Theatre in Review: Crime and Punishment (Phoenix Theatre Ensemble/ART New York Theatres)
On the face of it, the idea of boiling down Fyodor Dostoevsky's sprawling novel to ninety minutes and three actors seems like the most Sisyphean of endeavors. Then again, the maximalist approach hasn't been successful. At least two ...
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Theatre in Review: Our Class (Arlekin Players/Brooklyn Academy of Music)
Our Class begins on a humorous, casual, Our Town note, but don't be fooled; horror awaits around every corner. The actors take the stage, scripts in hand, and, with the house lights up, introduce themselves as grade ...
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Theatre in Review: Terce: A Practical Breviary (HERE/Prototype Opera)/Mahinerator (The Tank)
Last week was distinguished by two productions offering expertise and bafflement in equal measure; easy to admire and hard to parse, each at least offers notable artists doing what they do best.
In her recent works, Heather ...
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Theatre in Review: Volcano (Under the Radar/St. Ann's Warehouse)
Volcano, from the Dublin-based company Attic Projects, is the latest serving of theatre under glass, a design affectation that has recently overtaken Anglo-Irish stages. The idea is to encase actors and scenery ...
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Theatre in Review: Prayer for the French Republic (Manhattan Theatre Club/Samuel J. Friedman Theatre)
What a difference a few years makes: Prayer for the French Republic, returning after an acclaimed 2022 run at MTC's City Center venue, remains (despite a few structural oddities) a powerful piece, but current events -- ...
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