Pam Tanowitz + T.S. Eliot + Kathleen Chalfant + Brice Marden = a cornucopia of dance theater. Loren Noveck reviews.
Is it soup? Or is it art? And how good is the soup, anyway? Loren Noveck reviews.
Cary Grant, Aldous Huxley, and Clare Boothe Luce walk into a bar…except the bar is a Malibu estate and they’re all on acid. Loren Noveck finds the hook irresistible, but the execution less interesting.
Sylvia Khoury’s new play explores the anguishing human costs of the United States’s “Forever War” in Afghanistan. Loren Noveck reviews.
Alice Childress’s long-delayed Broadway debut marries simmering rage and sharp satire, and holds an uncomfortable mirror up to the theater world we still inhabit. Loren Noveck reviews.
Erika Dickerson-Dispenza’s award-winning play won’t let us look away from the tragedy of Flint, Michigan. Loren Noveck reviews.
Hilary Miller and the Bushwick Starr present an incisive, if not groundbreaking, black comedy about workplace violence and robot cats. Loren Noveck reviews.
Melissa Tien’s play asks, If you could turn back time, even a little bit, would that make it any easier to engineer genuine social change? Loren Noveck reviews.
Lucas Hnath makes harrowing and unsettling use of his mother’s life, channeled through an extraordinary performance by Deirdre O’Connell, in a piece that raises questions about the ethics of documentary theater. Loren Noveck reviews.
Tina Satter’s documentary theater piece transfers to Broadway with its power and its exceptional central performance intact. Loren Noveck reviews.