As the stakes grow increasingly life or death, the production’s campy structure becomes less capable of supporting it.
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.
This production’s pacing is more deliberate than that of the film, leaving the characters with more room to breathe.
The actress discusses her connection to New York, working with director Daniel Sullivan, and more.
The play reduces Medea’s decisions to an act of madness, adding little to our understanding of the Medea mythos.
The play depends especially on the strength of its leads, and here it has two eager thespians who make the most of its drama.
The dramatist and his husband, producer Tom Kirdahy, discuss what makes Frankie and Johnny so enduring.
Both shows were joined in the Best Musical category by Beetlejuice, The Prom, and Tootsie.
The play’s always-at-arm’s-length subtext makes it hard for us to appreciate or connect with the material on an emotional level.
The play is positioned as a coping mechanism for Heidi Schreck and, by extension, the audience.
Despite some realistic touches, Straight White Men, as directed by Anna D. Shapiro, goes to lengths to call out its artificiality.
It’s clear that at 70, the trail-blazing author of the seminal work Gender Outlaw is still a formidable force to be reckoned with.
We spoke to the Belgian-born titan of the theater about the experience of bringing new life to Visconti’s provocative The Damned.
The Band’s Visit, Angels in America, and Rodgers & Hammerstein’s Carousel snagged 11 nominations.
Twist discuss his work, new and old, and the direction he’s going in as we approaches 50.