Busch discusses his latest comic tearjerker, an homage to a rather unknown spate of movies from the early 1930s.
The singular nature of this play, brought to life by Kathryn Hunter’s exceptional lead performance, is reason enough to see this production.
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.
On an almost bare stage, the scenes bleed into each other with little sense that the setting or situation has changed.
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.
As the stakes grow increasingly life or death, the production’s campy structure becomes less capable of supporting it.
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.
Keith Hamilton Cobb’s play offers a promising avenue into the future of Shakespeare performance.
Jamie Lloyd’s gauzy new production of Harold Pinter’s play aims for the abstractly lyrical.
If we’re going to update Hercules for 2019, let’s take Meg’s dreams of independence seriously.
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