“Brilliant button-pusher” Bruce Norris wades into murky moral water with his latest play. Cameron Kelsall reviews.
Ana Nogueira pens “a love letter to the geeks, queerdos, and obsessives” and their complicated relationship with musical theatre and each other. Cameron Kelsall reviews.
Thornton Wilder’s ever-relevant play returns in a powerful, but inconsistent revival at Lincoln Center. Cameron Kelsall reviews.
The Met premieres another new production of Donizetti’s opera, this time in the hands of Australian auteur Simon Stone. Cameron Kelsall reviews.
The Tyrones face the opioid crisis and Covid-19 in Robert O’Hara’s contemporary production. Cameron Kelsall reviews.
“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.