This multimedia take on Nick Payne’s play by a Chinese company offers an elegant and quietly compelling production. Alison Walls reviews.
With recent revisions from Tony Kushner, there is quiet and bombastic brilliance in this play, but he still does not quite trust his audience. Alison Walls reviews.
Using a modern aesthetic at times and classical practices, this Japanese puppet drama remains a bit cool. Alison Walls reviews.
Big on comedy, lacking in nuance, this production of Tennessee Williams’ play fails to interweave the tragedy underlining the characters. Alison Walls reviews.
This mash-up of Ancient Greek messenger speeches tries to break conventionality with a roving audience and miles of caution tape, but it ends up falling into its own traps. Alison Walls reviews.
Playwright Bess Wohl finds a new angle on the familiar tale of family collapse. Alison Walls reviews.
Michael R. Jackson’s self-referential meta-musical loops around itself a little too much to be fully satisfying, but still offers plenty to think about and enjoy. Alison Walls reviews.
Erica Schmidt’s adaptation filters Shakespeare’s “Macbeth” through the lens of murderous teen girls to differing results. Alison Walls reviews.
Ivan Anderson’s recurring monthly show has a right to brag about its low unsubscription rate. Alison Walls reviews.
Explicit, provocative, and rich with intentional ambiguity, Jeremy O. Harris’s Slave Play mixes shocked laughter with deep discomfort.