A thrilling, thought-provoking political work by Tina Satter based on a real-life FBI transcript that unsettles with strong performances. Joey Sims reviews.
The latest version of the long-running spoof of Broadway musicals succeeds with spoofs of Oklahoma! and Fosse/Verdon, but is often too harsh to be enjoyed. Lane Williamson reviews.
While the musical’s book has problems, this new show from songwriter Ross Golan boasts a strong cast and addictive score. Ayanna Prescod reviews.
David Henry Hwang turns a real life attack and a shocking election into a shimmering musical that looks at US-Chinese relations with a wink and a dance break. Juliet Hindell reviews.
Peter Mark Kendall delivers a “quiet, humane” performance in this otherwise tonally-confused play. Joey Sims reviews.
The COOP’s inaugural production uses the true story of a sovereign state in the North Sea as a microcosm of environmental woes. Ran Xia reviews.
Playwright Will Arbery admirably endeavors to craft a nuanced portrait of conservative Catholicism, but the result is a facile exploration of religious and political tribalism. Cameron Kelsall reviews.
While not his finest work, this penetrating portrait of a shattered man by Conor McPherson gets an empathetic production. Patrick Maley reviews.
Daniel Fish’s adaptation of Don DeLillo’s novel is more focused on the “tapestry of the book’s language” than conveying its plot. Lane Williamson reviews.
Theater critics are the butt of jokes by three performance artists in this funny, smart deconstruction of the critical gaze. Nicole Serratore reviews.