Yet Kenneth Lonergan’s often powerful play seems oblivious to its own sense of privilege.
Not one of these wan, trivial one-acts proves worth producing.
But director Austin Pendleton’s production too often makes this world grotesque.
If you were hoping for some new insight into this fascinating chapter of theater history, ‘tis not to be.
Trafalgar’s enjoyable filmed stage production preserves a star turn that should be seen.
Both play and production are honorable but flawed, though signs are positive for the Philadelphia Theatre Company.
Curio’s homerun production breathes new life into a turgid melodrama.
Dominique Morisseau’s meaty, thought-provoking play gets a terrific production at McCarter.
This tale of terminally unpopular British teenagers feels like a 22-minute sitcom stretched to two hours.
Chas Rader-Shieber’s conflation was simultaneously over-conceptualized and insufficiently thought through.