“There is a value to…approach[ing] unfettered capitalism with a critical eye,” writes our critic, but Stefano Massini’s play (as adapted by Ben Power) doesn’t keep its gaze trained where it should. Cameron Kelsall reviews.
Through their partnership with Audible, Williamstown Theatre Festival presents the world premiere of Sanaz Toossi’s play, a chronicle of female friendship against the backdrop of the Iranian Revolution. Cameron Kelsall reviews.
Stacy Osei-Kuffour’s play may be written for the stage, but as an audio drama critic Cameron Kelsall finds it one of the strongest pivots he’s encountered in the reimagined 2020 theater world.
Informative and droll, Anna Ziegler’s play about Rosalind Franklin, a scientist undervalued by history, makes for compelling audio drama. Cameron Kelsall reviews.
This audio production of Streetcar starring Audra McDonald has not quite reached its destination. Cameron Kelsall reviews.
Brian Friel’s vivid play gains intimacy from the Zoom format and benefits from a shimmering performance by Michael Sheen. Cameron Kelsall reviews.
A polished streamed reading shows the possibility of the format, but launches with a dated satirical Mamet play. Cameron Kelsall streams and reviews.
Christopher Chen’s taut stage noir is layered with deeper issues addressing family, community, trust and truth. Cameron Kelsall reviews.
In an otherwise “formulaic family tragedy,” a standout performance by Pat Bowie raises the stakes. Cameron Kelsall reviews.
Adam Rapp’s Broadway debut is masterfully acted, directed, and designed, but the play itself may leave you feeling “impressed and unsatisfied.” Cameron Kelsall reviews.