Ghostly troubadours haunt a lighthouse during World War II in a new musical from Kyle Jarrow and Duncan Sheik. Lane Williamson reviews.
Is it soup? Or is it art? And how good is the soup, anyway? Loren Noveck reviews.
A gender-swapped Company leaves the leading lady without a voice. Nicole Serratore reviews.
Cary Grant, Aldous Huxley, and Clare Boothe Luce walk into a bar…except the bar is a Malibu estate and they’re all on acid. Loren Noveck finds the hook irresistible, but the execution less interesting.
Though it may be a crowd-pleasing romp, this adaptation of the beloved film feels curiously dated. Juliet Hindell reviews.
Sylvia Khoury’s new play explores the anguishing human costs of the United States’s “Forever War” in Afghanistan. Loren Noveck reviews.
Daniel Krane finds not a lot to hold on to in Enda Walsh’s “brusque and often alienating” new play.
Simon Stephens’ new play focuses on the ordinary life of one woman in Greenwich Village, but what makes the ordinary worth depicting on stage? Lane Williamson reviews.
Alice Childress’s long-delayed Broadway debut marries simmering rage and sharp satire, and holds an uncomfortable mirror up to the theater world we still inhabit. Loren Noveck reviews.
Erika Dickerson-Dispenza’s award-winning play won’t let us look away from the tragedy of Flint, Michigan. Loren Noveck reviews.