REVIEW: The Wilma’s Blood Wedding Is A Marriage of Compromises
Having deconstructed Lorca’s play, this production can’t make it whole again.
THEATER REVIEW: TouchTones, The Phone Sex Musical—Sorry, Wrong Number
This limp, by-the-numbers musical at the Arden lacks not only an erotic charge, but even general interest
In Theatre Exile’s Ideation, Consultants Pitching for their Lives
The ideas fly fast, furious, and ominous in Aaron Loeb’s entertaining satire.
In The Swallowing Dark at Inis Nua, Action is Subjegated to Storytelling
Lizzie Nunnery’s earnest but inert play lacks a sense of forward momentum.
In Carousel at the Media Theatre, Life Lived Fully in a One-Horse Town
This production is small-scale, but often imaginative and satisfying.
O Festival Diary—Day IV, Part I: Sondra Radvanovsky in Recital
One of today’s top divas provided glamour and high-wattage vocalism.
THEATER REVIEW: Simpatico at McCarter Uneasily Straddles the American Dream
In Red Orchid’s dazzlingly odd production, the great Sam Shepard lives on.
O Festival Diary—Day II: In O17’s Die Zauberflöte, the Magic is in the Technology
This imaginative, animated staging dazzles in some ways and comes up short in others.
THEATER REVIEW: In Lantern Theater’s Red Velvet, An Othello Too Real For His Audience
Lolita Chakrabarti’s mixed bag of a play finds greatness when Forrest McClendon takes the stage.
Farewell to the Great Barbara Cook
On Broadway and in the larger sphere of American popular song, Cook is the gold standard.
reclining standards 