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.
Ellen Reid’s debut opera explores the before-and-aftermath of a sexual assault to blistering effect. Lane Williamson reviews.
An opera-theatre adaptation of Sarah Kane’s play is at its most successful when it uses inventive orchestration to transcend the human voice. Lane Williamson reviews.
It may be best to just surrender to Michael Joseph McQuilken’s music-theatre puzzle. Lane Williamson reviews.
Equal parts exhilarating and mystifying, hilarious and stupefying, empowering and conflicting. The Cher Show arrives on Broadway.