Michael R. Jackson’s A Strange Loop nudges the musical theater form in a startling new direction.
The omnipresent horror of what we so quickly understand to be happening diminishes the play’s proximity to pleasure more than it should.
By reducing the play’s grandeur to the scope of a lightly staged radio play, words become the principal protagonist.
In Birthday Candles, tragedy and trauma have been rushed off stage with the ring of another gong and another year gone.
Tragic timeliness and timelessness doesn’t make up for the scrawniness of Richard Greenberg’s play.
Even if Help never entirely sheds its essayistic origins, the premise of finding poetry in personal scholarship is consistently compelling.
The play’s deliberate repetitions reveal how its characters rely upon the rituals they share to make meaning of a fractured world.
This slightly zany production sells the show’s intelligent warmth with a persuasiveness to rival Harold Hill himself.
The show is massively successful at demonstrating that Jackson was an extraordinary artist putting forth extraordinary art.
Eugene O’Neill’s play isn’t about all of us, as much as this production might lean into the allure of universality.
The best theater of 2021 hasn’t just been a treat but a privilege to witness.
This production squarely delivers as a potent tribute to the words and music of Stephen Sondheim.
The indomitable cabaret duo discuss their upcoming show Kiki & Herb SLEIGH at BAM.
The Visitor is ultimately about powerlessness, a fable of despair that illustrates how nothing changes if only one man does.
The 2021 Tony Awards, honoring the Broadway season that was cut short by the Covid pandemic, are all about memory.
If the play’s first half shows America as distilled dystopia, that focus only sharpens after an ambitious structural shift.
Merry Wives distills what legacy we need most from Shakespeare now and what art we need most from each other.
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