Playwright Will Arbery admirably endeavors to craft a nuanced portrait of conservative Catholicism, but the result is a facile exploration of religious and political tribalism. Cameron Kelsall reviews.
Michael R. Jackson’s self-referential meta-musical loops around itself a little too much to be fully satisfying, but still offers plenty to think about and enjoy. Alison Walls reviews.
“That Guy” infects our collective bloodstream, in a play Joey Sims calls “theater as a scream of pain.”
Tori Sampson’s new play gives the audiences a mirror to reflect on ideas around black beauty. Ayanna Prescod reviews.
In Noura, a refugee lives in exile from herself, trying to reconcile her past and her present. Loren Noveck reviews.
Playwright Larissa FastHorse’s New York debut is a “frequently funny, occasionally obvious satire of performative wokeness.” Cameron Kelsall reviews.
Gabe Cohn reviews Lindsey Ferrentino’s out-of-touch response to school shootings.
Molly Grogan reviews this remount of The Mad Ones’ 2016 production.
Cameron Kelsall calls bullshit at the hell Max Posner reserves for an over-burdened son.
Gabe Cohen reviews The Debate Society’s new play, connecting two different Chicago world’s fairs.