Director Sammi Cannold’s vision works overtime to erase some of the ingrained misogyny in this classic musical. It’s mostly successful and features a revelatory performance from Solea Pfeiffer. Lane Williamson reviews.
Live cooking notwithstanding, Theresa Rebeck’s newest play serves a plateful of stale tropes and underseasoned ideas about masculinity. Teresa Kilzi reviews.
Anna Deveare Smith was one of the creators of verbatim theater. Maya Phillips finds the fire of her 1992 play still intact in this revival performed by Michael Benjamin Washington.
This immersive theater piece tackles the weight of 400 years of black American history with both humor and horror. Loren Noveck reviews.
Dante or Die’s immersive, site-specific solo play is a powerful meditation on technology and mortality. Lane Williamson reviews.
A sly, subtle trip through repressed queer desire gives a peek at the orbits of women around each other. Nicole Serratore reviews.
Even with a musical team from the band The National and Peter Dinklage, do we need another Cyrano? Jordan Teicher ponders.
A wild dinner party skewers misogyny – quite literally – in Radiohole’s new play. Juliet Hindell reviews.
The latest entry in Richard Nelson’s “Rhinebeck Panorama” is missing the alchemy that made the previous plays so successful. Lane Williamson reviews.
Dead Centre presents a meditation on death and grief with a remarkable performance from a young actor. Nicole Serratore reviews.