The common refrain this season has been one of despair, of theatrical death by dearth.
This musical is more visually jaw-dropping and effortlessly cool than it has any right to be.
The script is sturdiest when fully focused on the all-important central friendship.
Fallen Angels is ultimately powered by mountingly goofy but predictable plot turns.
This production’s magic sizzles in the cast’s gutting portrait of the Loman family’s striving.
The casting of the show itself becomes a celebration of communities coming together.
This adaptation only offers a whiff of the film’s grim, socially conscious satire.
The mightily famous can, it turns out, use their powers for good.
The tension between the simple and the intricate runs throughout this year’s work.
In one way or another, the shows on this list were high-risk endeavors that gloriously paid off.
For Good is never really emotionally affecting, even on the level of nostalgia.
If the pieces of The Queen of Versailles aren’t cohesive, Kristin Chenoweth’s performance is.
Masquerade offers a refreshingly vibrant music of the night.
The Bill & Ted buddies have a tender rapport Jamie Lloyd’s revival.
This revival makes it hard to imagine its characters loving any version of each other.
The show has retained its frivolousness but not its sense of surprise.
The play seems designed to attract the same Daily Mail headlines that plague its characters.
Smart massages her character’s bumpy edges into a recognizable whole human being.
A jovial, almost folksy John Krasinski stars in Penelope Skinner’s tricksy new play.
This season’s biggest surprise and delight is poised to make a clean sweep.