Does anyone else miss when New York’s Signature Theatre would devote each season to producing multiple productions by the same playwright?
Continue reading “The Returns”
Does anyone else miss when New York’s Signature Theatre would devote each season to producing multiple productions by the same playwright?
Continue reading “The Returns”
Only a live performance can utilize the audience’s immediate responses to shape the explicit text of the show.
Continue reading “Tight Elasticity”
Conventional wisdom says there’s one surefire sign that a musical has a fire score:
Continue reading “Earworming”
When I buy a ticket for a puppet show, I expect the smaller scale, DIY theater that exists in the realm of the handheld.
Continue reading “Dodo as a Dodo”
Staged chaos is an oxymoron in terms.
Continue reading “What Reigns”
The Dan Daw Show’s open captions alter how we process sequences designed to seem potentially off-script.
Continue reading “Open Clarification”
The specific counters of a theater’s building can inform a production’s staging choices.
Continue reading “Soft Shifts”
Is Wonderful World Broadway’s crossing-the-Rubicon moment for the use of projections?
Continue reading “Not So Wonderful”
Ask everyone who sees Queer for a basic plot summary, and you won’t hear many mentions of Judaism, the Holocaust, nor 2001: A Space Odyssey.
Continue reading “But Why Not”
Watching The 7th Voyage of Egon Tichy [redux] can feel like a crazy-making experience, befitting a play about a man driven to-infinity-and-beyond his wits’ end.
Continue reading “Voyage”