Keith Bunin’s empathetic new play explores the untaken paths on a coastal train ride. Juliet Hindell reviews.
Emily Feldman’s new play pays homage to two American classics, but adds beautifully crafted layers of its own. Lorin Wertheimer reviews.
Ryan J. Haddad’s new work is at once an eye-opening look into disability and a radical experiment in accessibility. Loren Noveck reviews.
Too many branches keep the trunk obscured in Agnes Borinsky’s new play. Cameron Kelsall reviews.
Thomas Bradshaw’s new play leans into its awkwardness and is all the better for it. Lane Williamson reviews.
What begins as a stylishly absurd comedic treatment of Lizzie Borden goes to a much stranger place, with mixed but enjoyable results. Loren Noveck reviews.
Alexander Zeldin’s play, a slice-of-life in a temporary housing facility, makes its U.S. debut in a quietly stirring production. Lane Williamson reviews.
Sarah Ruhl’s new play stands as a collective ritual of grief, for our “moment suffused with illness.” Loren Noveck reviews.
This Lorraine Hansberry revival substitutes bitter truths for bohemian illusions. Loren Noveck reviews.
A revival of Samuel D. Hunter’s 2010 play feels like a relic from playwriting past, but even a dated Hunter play is worthwhile. Lane Williamson reviews.