A volcanic performance by Raúl Esparza outshines the flaws in this revival of Brecht’s allegory play. Lane Williamson reviews.
A shocking twist can’t save a paper-thin script. Loren Noveck reviews.
An ambitious, complex, at times unwieldy play that dramatizes the relationship between humans and the digital sphere as much as the relationships among its characters. Loren Noveck reviews.
“Let it be enough,” the title character implores at the end of Will Eno’s play, but our critic doubts that possibility with this revival. Joey Sims reviews.
This perky, hopeful new musical with catchy tunes makes even this critic-grouch optimistic. Nicole Serratore reviews.
Mia Chung shatters expectations with her smart, challenging new family play. Alicia Kort reviews.
A fascinating historical look at Asians in America through the eyes of the first Chinese woman to come here. Nicole Serratore reviews
Beckett’s play has never been funnier than in Druid Theatre Company’s production in the White Light Festival. Ran Xia reviews.
Playwright Larissa FastHorse’s New York debut is a “frequently funny, occasionally obvious satire of performative wokeness.” Cameron Kelsall reviews.
A late-career Tennessee Williams play is marked by “a frank discussion of female sexuality and gay liberation” in a revival by Regeneration Theatre Company. Cameron Kelsall reviews.