The revival of Martin McDonagh’s The Beauty Queen of Leenane is a funny and crushing production.
The show gravitates toward campy burlesque, but the creators have their fun and eat it too.
Silverman discusses her current production and her relatively new foray into the world of musicals.
It provides a clear and winning way in which to wring magic from the old, and features several stunning illusions.
From his home base in Paris, Brook discusses bringing back The Mahabharata to BAM in the form of Battlefield.
When we sat down with Nelson, he was in the midst of rehearsing What Did You Expect?, the second play of his current cycle at the Public.
We talked recently with Wohl and Chavkin about their collaboration on this unusual and compelling theater project.
Round and round Gillian Anderson’s Blanche DuBois goes, and where she stops, everyone knows.
This production is shadelessly lit for much of its runtime, evoking the drama’s openness, or at least its frankness.
I was so stunned by how many fucks it didn’t give that I stopped wondering if I was laughing with it or at it and wondered if my laughter transcended it.
Wolfe discusses the legendary musical from 95 years ago and what fires his enthusiasm for this current Broadway production.
The bracing final moment, in which the servant Firs discovers he’s locked in the house, is a coup de theatre.
The stage is an icy expanse and the narrative and the lives of its characters are just as flat as this Midwestern freeze.
In a series of challenging roles on the stage, Thomas is carving out a new life for himself.
Who are these characters anyway? Are they meant to be taken at all seriously, even on a metaphorical level?
Ultimately, this Antigone does what it espouses, appealing to our level heads rather than inflaming our passions.
In an age of nuance-less soundbite battles and bitter culture wars, the play is a rare and instructive antidote.
We sat down with Gurney to discuss his latest work, how his plays have been labeled, and the risk that often comes with putting so much of himself, and his family, on the stage.
The aesthetic flows into the acting, by veterans of the Wooster Group and Elevator Repair Service, two companies committed to atypical theater.