A silent film rendered on stage by live bodies can’t achieve the effects of its source medium. Lane Williamson reviews.
The Tony-winning powerhouse shows why she’s a star in this intimate celebration of her career at Feinstein’s/54 Below. Lane Williamson reviews.
Ryan J. Haddad performs a cabaret about the theatre troupe he founded as a child. It’s a song for little boys who love musicals and the families who support them. Lane Williamson reviews.
Park Avenue Armory presents a commissioned work from Richard Jones, director of 2017’s smash production of “The Hairy Ape”, but the equation of that success doesn’t add up here. Lane Williamson reviews.
Lane Williamson finds himself of two conflicting minds about the frustrating and entertaining two-part Matthew Lopez play about gay men in America.
A trailer park in a snow storm becomes an arena for gravity and joint-defying physical theatre in this hilarious and surprising piece from Belgium. Lane Williamson reviews.
Director Sammi Cannold’s vision works overtime to erase some of the ingrained misogyny in this classic musical. It’s mostly successful and features a revelatory performance from Solea Pfeiffer. Lane Williamson reviews.
Dante or Die’s immersive, site-specific solo play is a powerful meditation on technology and mortality. Lane Williamson reviews.
The latest entry in Richard Nelson’s “Rhinebeck Panorama” is missing the alchemy that made the previous plays so successful. Lane Williamson reviews.
Brazillian director Christiane Jatahy brings her theatre-and-film adaptation of Chekhov’s “Three Sisters” to BAM in an excavation of three women’s psyches. Lane Williamson reviews.