“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.
Tina Satter’s documentary theater piece transfers to Broadway with its power and its exceptional central performance intact. Loren Noveck reviews.
A glittery “histo-remix” of the lives of Henry VIII’s six wives brings its high-energy woman power back to Broadway post-shutdown. Loren Noveck reviews.
Antoinette Chinonye Nwandu makes her Broadway debut with a play about two young Black men on a street corner that uses humor to set off devastating booby traps. Daniel Krane reviews.
The George Floyd protests opened up theater lobbies and has prompted a new dialogue about theater and race. Joey Sims investigates.
A polished streamed reading shows the possibility of the format, but launches with a dated satirical Mamet play. Cameron Kelsall streams and reviews.
Like Bob Dylan’s music itself, this quasi-jukebox musical from Conor McPherson is filled with yearning, sadness, and humanity. Patrick Maley reviews.
Ivo van Hove brings fresh eyes to West Side Story in this video-heavy production and with it makes something wholly original. Lane Williamson shakes off van Hove fatigue and finds pleasure again in van Hove’s work.
Bess Wohl’s new play offers laughter and wry commentary on how we treat our elders but some unexpected tone shifts too. Juliet Hindell reviews.
Exploiting one character’s trauma to help others to their emotional growth, this new musical tokenizes the experiences of vulnerable people. Teresa Kilzi reviews.