The collective audience sigh of joy that greeted the opening chords signaled success from the start.
For all of the ingenuity and accomplishment of director Lileana Blain-Cruz and company, something here doesn’t add up.
The undisputed cause célèbre here — for better or worse — is director Simon Stone.
More than just a revival—it’s a reinvigoration of one of the best works of the last 50 years.
Dramaturgically, The Hours is a mixed bag: I wouldn’t discard it, but I would want to fix it. But simply as an evening of gorgeous music, it’s cordon bleu.
Martinez is an artist of the first caliber, which was richly evident throughout this imaginative, substantial program.
Two young casts due justice to Tchaikovsky’s opera — and bring honor to the Academy of Vocal Arts.
This high-gloss production trades on bland Americana at odds Meredith Willson’s sharply satirical, timeless show.
Clare Barron’s play, which explores women and sexual gratification, could be seen as brave or narcissistic or both.
The best of O’Hara’s Long Day is wrenching, illuminating, and will remain with me for a long time.