Sharon D. Clarke is the emotional engine in a blistering new revival of Jeanine Tesori and Tony Kushner’s operatic musical. The production, delayed by the pandemic, pushes its audience to sit in discomfort, something they might be unwilling to do. Kev Berry reviews.
The third concert in 54 Below’s Diamond Series features the mega talent Megan Hilty in a career retrospective that has our critic remembering the first time he saw her, and every time since. Lane Williamson reviews.
Melissa Tien’s play asks, If you could turn back time, even a little bit, would that make it any easier to engineer genuine social change? Loren Noveck reviews.
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.