When Enola Holmes teeters, it’s due to an unwillingness to commit to an audience.
The show offers testimony to the power of communal storytelling, just as mighty on screen as on stage.
With this version of West Side Story, van Hove seems barely interested in the show itself.
It’s hard to think of too many other productions that strive to stretch a Shakespeare play so far beyond its natural course.
Experiencing the Under the Radar Festival replaces the usual sense of familiarity with a sense of wonder.
This was the year of playwrights saying what they mean.
The Inheritance’s attempt to speak for everyone muddies its ability to speak clearly to anyone.
In the wake of Slave Play, immediate answers might sound neither comforting nor honest.
Two twists on the typical range of possibilities for the musical theater writing process are playing out in two recent musicals.
It’s telling that the show gets its biggest laughs only after it’s turned deadly serious.
Letts trips over the line between objectifying women and satirizing the objectification of women.
Ultimately, it’s the wrong man who animates the stage.
The play is too overstuffed and too easily distracted to say anything profound or potent about its subject matter.
The production gets out of the way and lets its stars do what they do best.
Jamie Lloyd’s gauzy new production of Harold Pinter’s play aims for the abstractly lyrical.