Dominique Morisseau’s play is the centerpiece of her “Detroit Project” trilogy, and also its heart. Patrick J. Maley reviews.
Can the neon lights of Broadway make it possible for us to separate the less salubrious aspects of Michael Jackson’s life from his musical legacy? Juliet Hindell reviews.
A gender-swapped Company leaves the leading lady without a voice. Nicole Serratore 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.
Though it may be a crowd-pleasing romp, this adaptation of the beloved film feels curiously dated. Juliet Hindell 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.
With a stellar cast and witty lyrics, this lavish bio-musical subscribes firmly to the view that the late Princess of Wales was a saint in a golden cage. Juliet Hindell reviews.
Sharon D. Clarke is the emotional engine in a blistering new revival of Jeanine Tesori and Tony Kushner’s operatic musical. The production, delayed by the pandemic, pushes its audience to sit in discomfort, something they might be unwilling to do. Kev Berry reviews.
A funeral feels more like a party in Douglas Lyons’ warm-hearted family comedy. Daniel Krane 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.