The show has trouble leaning into kick-ass naughtiness for more than a few minutes at a time.
Even if Help never entirely sheds its essayistic origins, the premise of finding poetry in personal scholarship is consistently compelling.
The play’s deliberate repetitions reveal how its characters rely upon the rituals they share to make meaning of a fractured world.
This slightly zany production sells the show’s intelligent warmth with a persuasiveness to rival Harold Hill himself.
The show is massively successful at demonstrating that Jackson was an extraordinary artist putting forth extraordinary art.
Eugene O’Neill’s play isn’t about all of us, as much as this production might lean into the allure of universality.
The best theater of 2021 hasn’t just been a treat but a privilege to witness.
This production squarely delivers as a potent tribute to the words and music of Stephen Sondheim.
The indomitable cabaret duo discuss their upcoming show Kiki & Herb SLEIGH at BAM.
The Visitor is ultimately about powerlessness, a fable of despair that illustrates how nothing changes if only one man does.
The 2021 Tony Awards, honoring the Broadway season that was cut short by the Covid pandemic, are all about memory.
If the play’s first half shows America as distilled dystopia, that focus only sharpens after an ambitious structural shift.
Merry Wives distills what legacy we need most from Shakespeare now and what art we need most from each other.
The Public Theater’s associate artistic director discusses the genesis of his ebullient production of Shakespeare’s play.
Fruma-Sarah’s slim premise isn’t quite sturdy enough to allow its more substantial aspirations to take flight.
Enemy of the People could do more to challenge the assumption that majority votes work the way they’re supposed to.
The phantoms of 2020 resurface with shivery impact throughout.
The festival is now part-streaming and part-live on a variety of platforms.
With this version of West Side Story, van Hove seems barely interested in the show itself.
It’s hard to think of too many other productions that strive to stretch a Shakespeare play so far beyond its natural course.
Busch discusses his latest comic tearjerker, an homage to a rather unknown spate of movies from the early 1930s.