Criticism

Die Frist Ist Glum — CK Reviews Der Fliegende Hollander at the Met (for Parterre Box)

Francois Girard’s Holländer sits on the Met’s cavernous stage as a dull gray mass.

Sharon’s reordering is the boldest aspect of his production, and for me it’s effective.

Doug Wright’s new biographical dramadey, seems at once intimately familiar with and entirely alien to its subject.

At all of these vocal contests, I ask myself the same question: What are the judges looking for?

What do you see when you look at Into the Woods? The musical might serve as a theatrical Rorschach test.

This is by any measure a triumphant show, evidence that Broadway can still be American theater’s gold standard.

Wild adulation for Donna Murphy could not disguise that Dear World doesn’t work in any sense.

Two radically different productions offer fascinatingly contrasting insights into Williams’ great play.

Two plays — one considerably stronger than the other — aim to capture American Jewish experiences.

Don Pasquale is Jawn Pasquale in this delightful production at the Academy of Vocal Arts.