The vocal standards are high, and the pleasure of discovering new talent always exhilarating.
John Guare’s monumental Lydie Breeze trilogy ends movingly, if not entirely clearly.
A rare opportunity to see Tell Me on a Sunday reveals a good idea, flawed in the execution.
Quintessence Theatre’s production is problematic, but even the problems are interesting.
The Walnut Street production’s antic energy is both its strength and its weakness.
The playwright and ELLE Senior Staff Writer talks Trump, his new play, and Queen Maxine.
Isis’s earnest but constrained production doesn’t fully resonate.
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.