REVIEW: Our Lady of 121st Street and Stephen Adly Guirgis’s Desire to Shock
Phylicia Rashad’s flashy, shallow production reveals how close this play is to TV comedy.
REVIEW: At Lantern’s Don’t Dress for Dinner, There’s a Heavy Hand in the Kitchen
Less here would be so much more.
REVIEW: At Encores, Me and My Girl is a Fallen Soufflé
This show needs two key ingredients—Englishness and charm. Here, it had neither.
REVIEW: In Turning Off the Morning News, Christopher Durang Returns with a Bang
This brilliantly acerbic, absurdist comedy gleefully thumbs its nose at trigger warnings.
REVIEW: Reliving the ‘60s with Catch-22 at Curio Theatre
Is this once-iconic satire still viable, or a historical curiosity? That is the question.
REVIEW: In 1812 Productions’ Hope and Gravity, Romance has its Ups and Downs
Michael Hollinger’s funny and clever play could use more gravity.
REVIEW: Sing the Body Electric at Theatre Exile is a World Lit by Lightning
In Michael Hollinger’s perplexing but enchanting play, getting there is the best part.
REVIEW: In a Streamlined Saint Joan, the Grandeur Goes Up in Smoke
With Shaw’s go-big-or-go-home masterpiece, playing it small and safe is not good enough.
REVIEW: Simon Stone’s Yerma, and the Problem with Critics
Can we please stop fetishizing female angst as the highest form of acting?
REVIEW: With Madaket Road, a Long, Intriguing Journey Comes to a Close
John Guare’s monumental Lydie Breeze trilogy ends movingly, if not entirely clearly.
