Thick layers of sexism and a dull score pervade any chance of this lost Rodgers & Hart musical taking flight. Lane Williamson reviews.
Eric Berryman gives voice to inmates in 1965 Texas prisons via The Wooster Group’s “record album interpretation,” but the artist’s connection to the work is missing. Lane Williamson reviews.
A revival of Athol Fugard’s play about South African refugees features an intoxicating atmosphere and a skillful performance by Zainab Jah. Lane Williamson reviews.
Spoken in the language of Tevye and his daughters, this revival loses the humor, but brings out the pain. Lane Williamson reviews.
Two Strindberg plays, “The Dance of Death” adapted by Conor McPherson and “Mies Julie” adapted by Yaël Farber, yield different results in new productions at Classic Stage.
Encores! revives a 1950s political satire, but its contemporary relevance is lacking and it isn’t much fun, either. Lane Williamson reviews.
With a physically raw trio dance, Anne Teresa De Keersmaeker further establishes her choreographic voice in New York. Lane Williamson reviews.
Cake and French absurdism abound in this mashup of five Ionesco plays, brought to the U.S. by the renowned Théâtre de la Ville. Lane Williamson reviews
A bio-play about Van Halen, where the men are played by women, examines gender and fandom. Lane Williamson reviews.
Joseph Keckler’s song cycle mixes an operatic baritone voice with pop music harmonies to create a distinctive theatrical beast. Lane Williamson reviews.