Glenda Jackson makes a meal of Edward Albee’s play about life and death. Cameron Kelsall reviews.
Cameron Kelsall
Articles by Cameron Kelsall
19 March 2018
Reviews • NYC • Off-Broadway
Review: Good for Otto at Pershing Square Signature Center
Pershing Square Signature Center ⋄ 8th March - 8th April 2018
By Cameron Kelsall
Cameron Kelsall reviews David Rabe’s newest play.
14 January 2018
Reviews • NYC • Opera
Review: Fellow Travelers at Gerald W. Lynch Theater at John Jay College of Criminal Justice
Gerald W. Lynch Theater at John J. College of Criminal Justice ⋄ 12th - 14th January 2018
By Cameron Kelsall
Cameron Kelsall reviews “the gay love story opera has been waiting for.”
9 January 2018
Reviews • NYC • Off-Broadway
Review: Mankind at Playwrights Horizons
Playwrights Horizons ⋄ To 28th January 2018
By Cameron Kelsall
Cameron Kelsall reviews Robert O’Hara’s “feminist” play.
9 November 2017
Reviews • NYC • Off-Broadway
Review: What We're Up Against at WP Theater (McGinn/Cazale)
Women’s Project Theater ⋄ 28th October – 26th November 2017
By Cameron Kelsall
Cameron Kelsall reviews Theresa Rebeck’s trenchant workplace comedy.
25 October 2017
Reviews • NYC • Off-Broadway
Review: After the Blast at Claire Tow Theater at Lincoln Center
Claire Tow Theater ⋄ 23rd October - 19th November 2017
By Cameron Kelsall
Cameron Kelsall reviews Zoe Kazan’s futuristic domestic drama.
25 October 2017
Reviews • NYC • Off-Broadway
Review: Lonely Planet at Clurman Theatre (at Theatre Row)
Clurman Theatre ⋄ To 18th November 2017
By Cameron Kelsall
Cameron Kelsall reviews Keen Company’s revival of Steven Dietz’s response to the HIV/AIDS epidemic.
27 September 2017
Reviews • NYC • Off-Broadway
Review: The Treasurer at Playwrights Horizons
Playwrights Horizons ⋄
By Cameron Kelsall
Cameron Kelsall calls bullshit at the hell Max Posner reserves for an over-burdened son.
11 July 2017
Reviews • NYC • Off-Broadway
Review: Pipeline at Lincoln Center – Mitzi E. Newhouse Theater
Mitzi Newhouse Theatre ⋄ Through 27th August 2017
By Cameron Kelsall
Dominique Morisseau takes on the school-to-prison paradigm in her newest play. Cameron Kelsall reviews.