Like Bob Dylan’s music itself, this quasi-jukebox musical from Conor McPherson is filled with yearning, sadness, and humanity. Patrick Maley reviews.
A multimedia adaptation of Paddy Chayefsky’s film by Ivo van Hove rams home the contemporary relevance of how media can go completely mad.
Moments of comedy and a talented cast cannot make this regressive and generic Broadway musical vital. Alison Walls reviews.
Looking at the fraternity of the broken, music succeeds where script does not in Claire van Kampen’s uneven historical play.
Nicole Serratore reviews Sam Gold’s bold reimaging of the Tennessee Williams’ classic
Genderqueer glam rock.
A Clifford Odets K.O.