Ivo van Hove’s mid-century aesthetic does not connect with the text of this opera by Leoš Janáček. Juliet Hindell reviews.
A compassionate window into the intersection of Chinese culture, queerness, and gender roles. Caroline Cao reviews.
John Webster’s 400-year-old revenge tragedy “crackles with wit and insight”–but Cameron Kelsall finds that the production fails to live up to the possibilities.
Despite an elegant design and phenomenal acting, this play about Lehman Brothers Holdings focuses on the bankers and ignores the common man. Lane Williamson reviews.
Shana Cooper’s production brings fresh eyes to a well-trod Shakespearean chestnut. Patrick Maley reviews.
A modern Chekhovian riff shows that life has not changed much since the nineteenth century. Lane Williamson reviews.
Thick layers of sexism and a dull score pervade any chance of this lost Rodgers & Hart musical taking flight. Lane Williamson reviews.
John Guare’s new play is a raucous romp through a seaside town with a bevy of outrageous characters and circumstances, but how does it all add up? Juliet Hindell reviews.
Alice’s rabbit hole reimagined as the London Underground during WWII: Does it work? Loren Noveck isn’t so sure.
Tori Sampson’s new play gives the audiences a mirror to reflect on ideas around black beauty. Ayanna Prescod reviews.