Sheer magic with shadows: Loren Noveck reviews Manual Cinema’s latest genre-bender.
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.
Royal Osiris Karaoke Ensemble worship a pizza wheel. Incomplete but calming and serene. Joey Sims meditates and reviews.
Can you create friendship and connection when you are controlling the audience? Nicole Serratore reviews the new play by Nassim Soleimanpour.
Tim and Tyne Daly are cast against type in a play written for them and their real-life sibling rapport doesn’t shine through. Cameron Kelsall reviews.
Peter Brook and Marie-Hélène Estienne ask how a person can atone for their crimes in a moving new theatrical work. Joey Sims reviews.
Amy Heckerling’s musical adaptation of her classic ’90s film is a good time, but not necessarily good theatre. Joey Sims reviews.
Erin Mallon’s play is a welcome escape into something nice. Dan O’Neil reviews.
Explicit, provocative, and rich with intentional ambiguity, Jeremy O. Harris’s Slave Play mixes shocked laughter with deep discomfort.