“The temerity to see yourself at the center of it all”: Does Will Eno’s newest critique the myth of the hero’s journey, or just give us another example of it? Ran Xia isn’t so sure.
This rarely produced Shakespeare play “illuminates the utter divide between the rich and the poor.” Ran Xia reviews.
The COOP’s inaugural production uses the true story of a sovereign state in the North Sea as a microcosm of environmental woes. Ran Xia reviews.
Ghosts are hard to escape in these two parts of Mfoniso Udofia’s Ufot Cycle, but the family matriarch, Abasiama, forces herself to try. Ran Xia reviews.
Tom Stoppard mashes up Shakespeare, Wittgenstein, underground Czechoslovakian theater, and an investigation into the limits of language, with surprisingly hilarious results. Ran Xia reviews.
Isaac Gomez’s new piece for Audible punches you in the heart and leaves you with a lump in your throat. Ran Xia reviews.
David Cale creates a vulnerable, complex journey through his childhood memories in this new musical memoir. Ran Xia reviews.
Committed performances cannot rescue a show that loses its way in its own surrealism. Ran Xia reviews.
Buzzing, humming, and full of imagination, this play about a school fight looks at the conflicts of growing up. Ran Xia reviews.
The characters in Christopher Chen’s new play negotiate identity, difference, and what it means to be human. Ran Xia finds that the richly diverse and “wildly talented” cast makes a lasting impression.