A funeral feels more like a party in Douglas Lyons’ warm-hearted family comedy. Daniel Krane reviews.
Carolee Carmello brings her incredible talent to a New Jersey revival of Jason Robert Brown’s song cycle, but the piece is starting to show its age. Lane Williamson reviews.
Lucas Hnath makes harrowing and unsettling use of his mother’s life, channeled through an extraordinary performance by Deirdre O’Connell, in a piece that raises questions about the ethics of documentary theater. Loren Noveck reviews.
“There is a value to…approach[ing] unfettered capitalism with a critical eye,” writes our critic, but Stefano Massini’s play (as adapted by Ben Power) doesn’t keep its gaze trained where it should. Cameron Kelsall reviews.
Laura Benanti brings her jazz-inflected album and signature sense of humor to the stage in the second concert of Feinstein’s/54 Below’s Diamond Series. Lane Williamson reviews.
Tina Satter’s documentary theater piece transfers to Broadway with its power and its exceptional central performance intact. Loren Noveck reviews.
A glittery “histo-remix” of the lives of Henry VIII’s six wives brings its high-energy woman power back to Broadway post-shutdown. Loren Noveck reviews.
Kicking off the new Diamond Series, Kelli O’Hara dazzles at Feinstein’s/54 Below. Lane Williamson reviews.
Two young undocumented immigrants struggle in Martyna Majok’s new play, which leaves Loren Noveck heartsick at the state of the world.
An inventive audio show from comedian-storyteller Hannah Mamalis shifts our perspective. Nicole Serratore reviews.