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.
With a stellar cast and witty lyrics, this lavish bio-musical subscribes firmly to the view that the late Princess of Wales was a saint in a golden cage. Juliet Hindell reviews.
A jumbled production brings down the first rate cast in this revival of Stephen Sondheim and John Weidman’s musical. Lane Williamson reviews.
Hilary Miller and the Bushwick Starr present an incisive, if not groundbreaking, black comedy about workplace violence and robot cats. Loren Noveck reviews.