An excellent group of poems and dramatic scenes about forced migration wants to break free of its Zoom box. Juan A. Ramirez reviews.
Under the Radar presents a “Marxist Lynchian nightmare” from Chilean company Teatro Anónimo that meets the anxieties of our time. Juan A. Ramirez reviews.
Juan Ramirez finds no joy in this “lifeless production” of Richard Greenberg’s new play, with a “dire lack of dramatic tension.”
A young queer person immerses herself in fantasies with the film actress Natalie Portman in a new play by C.A. Johnson. Juan A. Ramirez reviews.
Juan Ramirez finds more repetitions of an idea than productive variations on a theme in Eboni Booth’s new play for the Atlantic.
Charles Busch is a legend, but Juan Ramirez finds his newest play a little too retro for its own good.
Juan A. Ramirez is sufficiently spooked by Lucas Hnath’s new play that looks at one woman’s connection to the space between life and death.
Juan Ramirez finds Stephen Adly Guirgis’s newest play “intensely watchable” and “refreshingly nonjudgmental.”
Haircuts and community abound in this exhilarating production from London’s National Theatre that has stayed with Juan A. Ramirez since he first saw it a year ago.
A real life attack of sexual violence is refracted through multiple perspectives and the distance of memory in this adaptation of an Édouard Louis novel from the Schaubühne Berlin. Juan A. Ramirez reviews.