The show is at its best when it examines the questions that Susanna Kaysen did in her memoir.
The play seems designed to attract the same Daily Mail headlines that plague its characters.
Smart massages her character’s bumpy edges into a recognizable whole human being.
A jovial, almost folksy John Krasinski stars in Penelope Skinner’s tricksy new play.
This season’s biggest surprise and delight is poised to make a clean sweep.
The First Shadow feels like a dim approximation of what makes the Netflix series so special.
Boop! earns the confetti cannon that goes off in the show’s final moments.
Williams discusses working with Sarah Snook and adapting Oscar Wilde’s legendary novel.
The only variety here is in the velocity and volume of the men’s anger.
The silliness sticks more than the pathos in The Picture of Dorian Gray.
Is this the underwhelming Kit Kat Club all over again? Well, yes and no.
Menzel has range, but her character doesn’t, and that’s Redwood’s chief failure.
In the last two years, the festival’s programming has grown riskier and more boundary-crossing.
The theater pieces that resonated most this year were stories of communal, collective healing.
O’Hara discusses encouraging complicity between the audience and the production.
Darren Criss and Helen J. Shen turn the slightest of touches into electric connection.
Rachel Zegler and Kit Connor’s casting will persuade their fans that this story is dope AF.
Sunset Boulevard’s heavy bones drag behind Jamie Lloyd’s austere vision like a body bag.
The unendurable passage of time haunts both plays.
Not knowing what’s real and what’s not is less compelling than McNeal contends.
Hwang discusses his expectations for the autobiographical play now that it’s on Broadway.