Experiencing the Under the Radar Festival replaces the usual sense of familiarity with a sense of wonder.
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.
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.