A funeral feels more like a party in Douglas Lyons’ warm-hearted family comedy. Daniel Krane reviews.
Lucas Hnath makes harrowing and unsettling use of his mother’s life, channeled through an extraordinary performance by Deirdre O’Connell, in a piece that raises questions about the ethics of documentary theater. Loren Noveck 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.
Laura Benanti brings her jazz-inflected album and signature sense of humor to the stage in the second concert of Feinstein’s/54 Below’s Diamond Series. Lane Williamson 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.
Kicking off the new Diamond Series, Kelli O’Hara dazzles at Feinstein’s/54 Below. Lane Williamson reviews.
A climate change opera with a sly libretto is undone by a casually messy staging in an undersized venue. Nicole Serratore 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.
Delightful leading ladies but the chaos and comedy never seem to reach full throttle in this Shakespearean adaptation. Nicole Serratore reviews.