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.
Jocelyn Bioh takes on the world of Nigerian cinema in her delightful new play. Juliet Hindell reviews.
Simple ingredients add up to “a bare-knuckled punch to the face” in this new work at Soho Rep. Daniel Krane reviews.
“The temerity to see yourself at the center of it all”: Does Will Eno’s newest critique the myth of the hero’s journey, or just give us another example of it? Ran Xia isn’t so sure.
Sharon D. Clarke is the emotional engine in a blistering new revival of Jeanine Tesori and Tony Kushner’s operatic musical. The production, delayed by the pandemic, pushes its audience to sit in discomfort, something they might be unwilling to do. Kev Berry reviews.
The third concert in 54 Below’s Diamond Series features the mega talent Megan Hilty in a career retrospective that has our critic remembering the first time he saw her, and every time since. Lane Williamson reviews.
Melissa Tien’s play asks, If you could turn back time, even a little bit, would that make it any easier to engineer genuine social change? Loren Noveck reviews.
A funeral feels more like a party in Douglas Lyons’ warm-hearted family comedy. Daniel Krane reviews.