Lane Williamson, Author at Exeunt Magazine NYC

10 February 2019

Reviews • NYC • Off-Broadway

Review: Call Me Madam at New York City Center

New York City Center ⋄ 6 February - 10 February

By Lane Williamson

Encores! revives a 1950s political satire, but its contemporary relevance is lacking and it isn’t much fun, either. Lane Williamson reviews.

6 February 2019

Reviews • NYC • Off-Broadway

Review: Verklärte Nacht at Baryshnikov Arts Center

Baryshnikov Arts Center ⋄ 30 January - 3 February

By Lane Williamson

With a physically raw trio dance, Anne Teresa De Keersmaeker further establishes her choreographic voice in New York. Lane Williamson reviews.

29 January 2019

Reviews • NYC • Off-Broadway

Review: Ionesco Suite at BAM Fisher

BAM Fisher ⋄ 23 January - 26 January

By Lane Williamson

Cake and French absurdism abound in this mashup of five Ionesco plays, brought to the U.S. by the renowned Théâtre de la Ville. Lane Williamson reviews

24 January 2019

Reviews • NYC • Off-Broadway

Review: Eddie and Dave at Atlantic Stage 2

Atlantic Stage 2 ⋄ 10 January - 10 February

By Lane Williamson

A bio-play about Van Halen, where the men are played by women, examines gender and fandom. Lane Williamson reviews.

13 January 2019

Reviews • Cabaret • NYC • Off-Broadway

Review: Train With No Midnight at HERE Arts Center

HERE Arts Center ⋄ 5 January - 13 January

By Lane Williamson

Joseph Keckler’s song cycle mixes an operatic baritone voice with pop music harmonies to create a distinctive theatrical beast. Lane Williamson reviews.

10 January 2019

Reviews • NYC • Off-Broadway

Review: prism at La MaMa Experimental Theatre Club

LaMama E.T.C. ⋄ 6 January - 12 January

By Lane Williamson

Ellen Reid’s debut opera explores the before-and-aftermath of a sexual assault to blistering effect. Lane Williamson reviews.

6 January 2019

Reviews • NYC • Off-Broadway • Opera

Review: 4.48 Psychosis at Baruch Performing Arts Center

Baruch Performing Arts Center ⋄ 5 January - 12 January

By Lane Williamson

An opera-theatre adaptation of Sarah Kane’s play is at its most successful when it uses inventive orchestration to transcend the human voice. Lane Williamson reviews.