Hilary Miller and the Bushwick Starr present an incisive, if not groundbreaking, black comedy about workplace violence and robot cats. Loren Noveck reviews.
Jocelyn Bioh takes on the world of Nigerian cinema in her delightful new play. Juliet Hindell reviews.
Simple ingredients add up to “a bare-knuckled punch to the face” in this new work at Soho Rep. Daniel Krane reviews.
“The temerity to see yourself at the center of it all”: Does Will Eno’s newest critique the myth of the hero’s journey, or just give us another example of it? Ran Xia isn’t so sure.
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.