THEATER REVIEW: In Fulfillment Center, Four Characters in Search of an Unknown Future
Abe Koogler’s play moves almost imperceptibly between realism and a poetic alternate reality.
THEATER REVIEW: Oslo May Be Why We Need a National Theater
J. T. Rogers’ complex play demands to be seen—but who can afford to produce it?
OPERA NOTES: Thoughts on the Met’s Der Rosenkavalier HD-Cast
At the Met, Carsen and company reduce metaphor to melodrama.
THEATER REVIEW: Whirligig Spins and Spins—But To What End?
Hamish Linklater’s bumpy, overwritten play never finds an anchor.
THEATER: Taking a Second Look at The Antipodes at Signature Theatre
Revisiting Annie Baker’s new play confirmed some of my impressions and changed others.
THEATER REVIEW: In Gently Down the Stream, a Calamitous History, Touchingly Remembered
Martin Sherman’s play is both a sweet romance—and a platform for Harvey Fierstein to shine.
THEATER REVIEW: In The Antipodes, Writing Is—Literally and Figuratively—An Exorcism
There are many wonderful things in Annie Baker’s new play, but it loses its way.
THEATER REVIEWS: In this Six Degrees of Separation, the Art is Just Out of Reach
John Guare’s still-wonderful play deserves better than Trip Cullman’s glossy, shallow revival.
THEATER REVIEW: Murder on the Orient Express Arrives at McCarter by Way of Hollywood
This playful take on Agatha Christie’s mystery delivers more chuckles than chills.
THEATER REVIEW: In The Glass Menagerie, The Bare Essentials, but a World Lit by Lightening
I disagree with many of Sam Gold’s directorial ideas—yet I’ve never seen a production that feels so devastatingly right.
reclining standards 