Celine Song drops two theater-themed Easter eggs in Materialists, befitting her background — AND HOPEFULLY FUTURE — as a playwright:
Continue reading “Celeaster Egg Song”
Celine Song drops two theater-themed Easter eggs in Materialists, befitting her background — AND HOPEFULLY FUTURE — as a playwright:
Continue reading “Celeaster Egg Song”
Can you name a single musical steeped in the Islamic tradition?
Continue reading “Make the Case”
Generally speaking — AKA, I KNOW THERE ARE EXCEPTIONS APLENTY — musicals are staged in bigger theaters than plays.
Continue reading “In Around”
What do you remember about Pixar’s Up?
Continue reading “Rise and Cry”
The Shrouds isn’t the sole ending in theaters now that feels abrupt enough to have made both of my audiences guffaw at the sheer surprise of the credits rolling.
Continue reading “Resolute”
The Years, or: when trigger warnings double as dramaturgy.
Continue reading “Trigger Unhappy”
The title number in Real Women Have Curves strikes a similar chord as the first scene of Act II in Bess Wohl’s Liberation.
Continue reading “Full Monties”
Attention spans are fickle.
Continue reading “The First Gaffe”
What’s up with British productions staging moments in which their actors exit not only the stage, but the entire theater?
Continue reading “Exeunt”
Vanya is about to offer New Yorkers a rare experience.
Continue reading “Vanya and Vanya”