Death is the uninvited guest at a pre-reunion pre-game party in Branden Jacobs-Jenkins’s new play, expertly directed by Eric Ting. 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.
Quiara Alegría Hudes’s adaptation of her memoir is more of an unusually creative literary reading than a play. Loren Noveck reviews.
Dominique Morisseau “leaves the confines of realism…and offers a challenging new paradigm” in the second play of her Signature residency. Patrick Maley reviews.
The music is bangin’, but Lauren Yee’s script and Chay Yew’s direction never quite free themselves from the obvious. Alison Walls notes a lot of missed opportunities to be daring.
In an otherwise “formulaic family tragedy,” a standout performance by Pat Bowie raises the stakes. Cameron Kelsall reviews.
Terry Kinney’s revival of Sam Shepard paints a bleak picture of an American dream hanging over the abyss. Loren Noveck reviews.
Joey Sims finds that this revival sometimes stumbles, but the “strange, electric play has only gained in relevance” since its 2011 premiere.
The tragicomic, or comitragic, epic journey of a woman who made herself once, and now has to do it all over again. Loren Noveck reviews.
“Let it be enough,” the title character implores at the end of Will Eno’s play, but our critic doubts that possibility with this revival. Joey Sims reviews.