Despite ingenious moments, the gimmick of Beth Wohl’s play wears out before it’s over.
Part II of the Lydie Breeze Trilogy is linear, concise, and better than Part I.
The Arden’s Toni Morrison adaptation is too much handsome staging, too little Morrison.
This heartfelt play about mental health is both too little and way, way too much.
Without its companion pieced, Trouble in Tahiti, this difficult late work feels like half of an opera.
The audience loved this musical Shakespeare send-up. So did I—sometimes.
Alan Harris’s rollercoaster of a play is a hint of Spring renewal in the depths of February.
This puzzling evening celebrated an adored institution even as it raised questions.
Mastery of style is everywhere in this jewel of a show that is wistful, wry, and deeply touching.
But why isn’t there more light and clarity in this moody but muddy work about illuminated manuscripts?