The Visit feels like a Grimm fairy tale conspicuously missing a moral.
Where Side Show shines most brightly is in Emily Padgett and Erin Davie’s performances.
South Korean-born playwright Young Jean Lee both does and doesn’t traffic in subtlety.
One way to recognize first-rate playwrights is to seek moments of surprising inspiration in their more unambitious plays.
generations offers a richer experience than its half–hour runtime would suggest.
The Killer is an everyman play written to resemble a political parable.
The production makes the experience of entering and exiting the theater more exciting than watching the play itself.
If/Then has all the emotional subtlety of a Nicholas Sparks novel.
Caryl Churchill makes lyrical irony out of our inability to make sense of our universe, even as we haplessly and relentlessly keep trying.
Robert Wilson’s aesthetic is at home in the colossal Park Avenue Armory.
Zachary Quinto brings a sulking but simmering aggression to Tom, played as a man who knows who he isn’t, but not who he is.
Much like the character of Edward Bloom, Big Fish tries too hard to convince us that it’s special.
The Machine, in short, is an anti-capitalist tragedy that spends half its time looking like a sci-fi melodrama and the other half like a biopic.
This Shadows is exhilarating and deeply playful, a lively dance between art and reality.
Melodrama for the Anti-Capitalist Crowd: A Public Reading of an Unproduced Screenplay About the Death of Walt Disney at Soho Rep
Lucas Hnath’s indictment of Disney is both clever and total.