Haruna Lee’s surrealism, satire, and comedy serve a gut-wrenching play on gender, sexuality, immigration and trauma.
Katori Hall returns to Memphis and brings the dialect of the city to simmering life in her new play. Patrick Maley reviews.
Beth Malone shines in the title role, but Joey Sims wishes this production were a little more “actively weird.”
A verbatim play about the abduction of Lucas Hnath’s mother raises questions of authorship, while still delivering quite a wallop of a story. Lane Williamson reviews.
Big, bold directorial choices don’t enhance Young Jean Lee’s intimate musical. Loren Noveck reviews.
The music is bangin’, but Lauren Yee’s script and Chay Yew’s direction never quite free themselves from the obvious. Alison Walls notes a lot of missed opportunities to be daring.
A young queer person immerses herself in fantasies with the film actress Natalie Portman in a new play by C.A. Johnson. Juan A. Ramirez reviews.
Ethan Lipton’s enjoyable Western has some fuzziness around the edges that made our critic think about the films of Jim Jarmusch. Dan O’Neil reviews.
Christopher Chen’s taut stage noir is layered with deeper issues addressing family, community, trust and truth. Cameron Kelsall reviews.
Pearl Cleage writes a timeless tale with detailed character portraits, but not all performances deliver. Juan Michael Porter II reviews.