The play is too overstuffed and too easily distracted to say anything profound or potent about its subject matter.
The notion that one can simply pick up the pieces and move on is the season’s central illusion.
The episode is, in one sense, a portrait of a woman on the verge of a nervous breakdown.
“The Rat” reaffirms one of the show’s central ideas that all of us are, to a certain extent, hiding in plain sight.
In a series of challenging roles on the stage, Thomas is carving out a new life for himself.
The show understands that in the wrong hands, belief, whether ideological or supernatural, may be no more than a kissing cousin to the violence it justifies.
A morass of lies, betrayals and undetonated bombs, “Divestment” isn’t about civil disobedience but vengeance plain and simple.
Thomas is back on Broadway in the Manhattan Theatre Club’s revival of Henrik Ibsen’s An Enemy of the People.
The overall effect is like opening a present on Christmas morning.