The show is at its best when it examines the questions that Susanna Kaysen did in her memoir.
At its funniest, The Roommate is a comedy of manners, an unapologetic throwback.
If the show isn’t just riotously funny but whipsmart and lovely, too, so are its new stars.
With Life and Trust, Emursive has opted wisely for mood over minutiae.
Job preserves an unsettling undercurrent, despite its ridiculous premise.
Despite the 12 Angry Men-like setup, there’s nothing anonymous about the women here.
There are at least four celebrated contenders vying, all equally convincingly, for the top prize.
Each play poeticizes the cradle-to-near-grave journey of so-called ordinary American lives.
The show ultimately overlooks its own message: that a little isolation goes a long way.
The play examines the provenance of a photo album from Auschwitz.
This Great Gatsby is an engaging, tautly rendered, and visually dazzling ride.
Mac discusses experience of starring in Sarah Ruhl’s show and the projects waiting in the wings.
A smarter, warmer, bolder revival of The Wiz remains tantalizingly out of reach.
It never stands a chance of being so bad it’s good because it wants to be good so badly.
In Zinnie Harris’s play, Lady Macbeth gets tangled in her own unraveling.
Under Danya Taymor’s direction, this is a remarkable, emotionally arresting piece of theater.
Sam Gold’s sharply accelerating production reveals the horror of hypocrisy.
This show never transcends the clichés that it conflictingly both seeks to challenge and embrace.
Illinoise functions like a particularly classy jukebox musical.
Fiasco Theater’s production of Pericles is an electrifying act of double-resurrection itself.
The Connector’s characters reach beyond their time and place to point, Cassandra-like, toward the litany of offenses against the truth that would stack up over 25 years.