People, Places & Things will go down as one of this theatre season’s very best shows.
Continue reading “PEOPLE, PLACES & THINGS: A Transatlantic Journey (To Another Website)”
People, Places & Things will go down as one of this theatre season’s very best shows.
Continue reading “PEOPLE, PLACES & THINGS: A Transatlantic Journey (To Another Website)”
Will Ferrell’s You’re Welcome America: A Final Night With George W. Bush is my favorite Broadway production that I never actually experienced in person.
Continue reading “Will and George, Alec and Donald, Jim and Andy…and Tony”
Magic’s having a theatrical moment.
Continue reading “AT THE ILLUSIONIST’S TABLE (The McKittrick Hotel): Dinner Magic”
The Keen Company’s revival of Steven Dietz’s Lonely Planet plays like a thematic mashup between Edward Albee’s Who’s Afraid of Virginia Woolf? and Samuel Beckett’s Waiting for Godot. They explore the complexly nuanced relationships between storytelling, companionship, and dealing with life’s hard truths.
Since I attended the final performance of the Public Theater’s production of Julia Cho’s Office Hour, I figured it wouldn’t behoove me to write about it, even though I think it’s one of the most vital plays of the season.
Write All Nite will not be conforming to the recent trend of every outlet in the world releasing their “Top 10 ____ of 2017” lists IN EARLY DECEMBER, for a variety of reasons.
Every year, I track all the major off-Broadway theatre company’s seasons to determine whose deserves to be crowned the best of, currently, 2017-2018. It’s still too early to declare a winner, but based on its three revivals this fall, the Signature Theatre looks like the odds-on favorites.
Continue reading “JESUS HOPPED THE ‘A’ TRAIN (Signature Theatre)”
I’ve long differentiated actors from performers.
WHAAAAAAAAT THEEEEEEE FUUUUUUUUUCK?!?!?!?!
Continue reading “CONQUEST OF THE UNIVERSE OR WHEN QUEENS COLLIDE (La Mama)”
Given the relatively newfound popularity of 90-minute plays, double-bills of one-acts have largely gone out of style. What hasn’t faded over hundreds of years of theatre history are works that mix farce and slapstick, with a plethora of self-aware winking thrown in.
Continue reading “MARCEL + THE ART OF LAUGHTER (Theatre for a New Audience)”