Job preserves an unsettling undercurrent, despite its ridiculous premise.
Despite the 12 Angry Men-like setup, there’s nothing anonymous about the women here.
There are at least four celebrated contenders vying, all equally convincingly, for the top prize.
Jenkins’s remarkable TV adaptation receives a gorgeous and generously loaded box set.
Each play poeticizes the cradle-to-near-grave journey of so-called ordinary American lives.
The show ultimately overlooks its own message: that a little isolation goes a long way.
This Great Gatsby is an engaging, tautly rendered, and visually dazzling ride.
A smarter, warmer, bolder revival of The Wiz remains tantalizingly out of reach.
It never stands a chance of being so bad it’s good because it wants to be good so badly.
In Zinnie Harris’s play, Lady Macbeth gets tangled in her own unraveling.
Under Danya Taymor’s direction, this is a remarkable, emotionally arresting piece of theater.
Sam Gold’s sharply accelerating production reveals the horror of hypocrisy.
This show never transcends the clichés that it conflictingly both seeks to challenge and embrace.
Illinoise functions like a particularly classy jukebox musical.
Fiasco Theater’s production of Pericles is an electrifying act of double-resurrection itself.
The Connector’s characters reach beyond their time and place to point, Cassandra-like, toward the litany of offenses against the truth that would stack up over 25 years.
In its new iteration, Under the Radar, which runs through January 21, hasn’t missed a step.
In the film, the embrace of storytelling through song and dance is front and center.
In 2023, there was a happy diversity in the tapestry of the theater that resonated most deeply.
Largely missing is the coherent world-building and quicksilver pacing of the novels.