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.
A cringeworthy world of surprising and complete characters from the singular Phoebe Waller-Bridge. Cameron Kelsall reviews.
Eric Berryman gives voice to inmates in 1965 Texas prisons via The Wooster Group’s “record album interpretation,” but the artist’s connection to the work is missing. Lane Williamson reviews.
Jorge Ignacio Cortiñas presents a world tilted uncomfortably on its axis. Joey Sims reviews.