Three 2026 productions open themselves to different interpretations based on whether you recognize their directors on stage.
Continue reading “Mirror Mirror”
Three 2026 productions open themselves to different interpretations based on whether you recognize their directors on stage.
Continue reading “Mirror Mirror”
A specific moment in Cold War Choir Practice functions as a testament to its artistic finesse, and doubles as a metaphor for one of this new play’s primary themes.
Continue reading “Choir Praxis”
Fallen Angels’ Maurice feels designed to be cast as a celebrity cameo.
Continue reading “Putting the Ex in Deus Ex Machina”
There’s a meaningful disparity between Taraji P. Henson’s fame relative to the rest of her Joe Turner’s Come and Gone ensemble, and the size of her role.
Continue reading “No Small Parts”
Musicals are considered a fluffy medium.
Continue reading “Hide and Seek”
David Cale’s last two plays feel like companion pieces, about artists whose interrelated thirst for companionship and literary inspiration bleeds the porous psychic boundaries between their personal lives and their art.
Continue reading “Goliath”
Who is Every Brilliant Thing about?
Continue reading “For the Records”
Spit&vigor’s Anonymous is the sort of Alcoholics Anonymous art that Playwrights Horizons’ The Dinosaurs challenges.
Continue reading “Non”
Midwinter Break is what I like to call a city-travelogue romance.
Continue reading “We’re Going Breaking”
Hate Radio is Jonathan Glazer’s The Zone of Interest for the Rwandan genocide.
Continue reading “Talked to Death”