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  Theatre in Review: Good Night, and Good Luck (Winter Garden Theatre)
Good Night, and Good Luck could hardly have arrived at a more propitious time: What with academic institutions, legal firms, and media outlets all bowing to power in Washington, what better time for the drama of a journalist ...
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Theatre in Review: The Cherry Orchard (Donmar Warehouse at St. Ann's Warehouse)
For a guy who's been dead for one hundred and twenty-one years, Anton Chekhov has had quite a few co-authors lately. These days, writers, not content with translating the Russian master's plays, are intent on dragging them into the ...
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Theatre in Review: Othello (Ethel Barrymore Theatre)
As far as I can tell, this much-anticipated revival's objective is to deliver a fast-paced Othello, cut to a relatively brief two hours and thirty minutes and heavily focused on stars Denzel Washington and Jake ...
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Theatre in Review: Buena Vista Social Club (Gerald Schoenfeld Theatre)
Buena Vista Social Club is packed to the rafters with sizzling musical performances, both vocal and instrumental, and dances to match. The opener, "El Carretero," strikes a party atmosphere, with the entire company leaning in ...
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Theatre in Review: Cold Water (Little Engine Theater/Ki Smith Gallery)
Cold Water, a wry and occasionally touching two-hander by the British-American Philippa Lawford (with an assist from Anton Chekhov) is most notable for the opportunities it affords two fine actors. Ben Rosenfield ...
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Theatre in Review: The Picture of Dorian Gray (Music Box Theatre)
The Picture of Dorian Gray is a stunningly imaginative piece of stagecraft, brilliantly realized and meticulous in almost every detail. It should be of great interest to every LSA reader. And it is, I think, a mistake, ...
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Theatre in Review: Operation Mincemeat (Golden Theatre)
Late in the first act, Operation Mincemeat abandons its frantically cartooned, herky-jerky ways and quietly takes one's breath away. The new musical is about a famous British counterespionage maneuver in World War II, and, ...
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Theatre in Review: Amm(i)gone (The Flea Theatre)
In Amm(i)gone, the Pakistani-American teacher and theatre artist Adil Mansoor tries to get closer to his mother by collaborating on an Urdu translation of a classic Greek tragedy. Please note that it is not Medea ...
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Theatre in Review: Purpose (Helen Hayes Theater)
With recent tenants like Between Riverside and Crazy, Appropriate, Mother Play, and Cult of Love, the Hayes Theater has become Broadway's official House of Family Dysfunctions. Purpose continues ...
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Theatre in Review: Wine in the Wilderness (Classic Stage Company)
The strange case of Alice Childress continues to be a scandal of major proportions. Not nearly celebrated enough in her own time, she was promptly forgotten after her 1984 death. Yet, since 2021, each new Childress revival has ...
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Theatre in Review: Maybe Tomorrow (Abingdon Theatre Company at ART/New York Theatres)
Maybe Tomorrow is the first play I've seen set entirely in a bathroom; this is not likely the birth of a genre. It's a rather luxurious bathroom, surprisingly so, since it is attached to a mobile home. (A "deluxe" one, we are ...
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Theatre in Review: Vanya (Lucille Lortel Theatre)
It's the pauses that are so telling in Andrew Scott's solo version of the Anton Chekhov classic. To be sure, the actor does many things spectacularly in Sam Yates' production: He crosses behind the freestanding door ...
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Theatre in Review: We Had a World (Manhattan Theatre Club/City Center Stage II)
In We Had a World, playwright Joshua Harmon acts as a cartographer, mapping out the complex landscape of love and resentment that shaped his youth. The play is founded on two indisputable facts, communicated by Harmon's ...
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Theatre in Review: Amerikin (Primary Stages/59E59)
The playwright Chisa Hutchinson, who is Black, does a very nervy thing in Amerikin, imagining life in a Maryland town teeming with white supremacists. And, until she loses control of her material in the second act, she ...
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Theatre in Review: Ghosts (Lincoln Center Theatre/Mitzi E. Newhouse Theater)
The acting in this revival of Henrik Ibsen's famously thorny play is often good enough to make one forget the fuzzy production concept framing it. Director Jack O'Brien is bent on pulling Ghosts -- its plot ...
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Theatre in Review: Last Call (New World Stages)
If nothing else, Last Call is a chance to meet two outstanding women of the German theatre. The director Gil Mehmert opted to cast the male lead characters of Peter Danish's play with actresses, a gambit that, ...
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Theatre in Review: A Streetcar Named Desire (Almeida Theatre at Brooklyn Academy of Music)
Having seen Rebecca Frecknall's revival of the Tennessee Williams classic, two thoughts come to mind: 1) Patsy Ferran is a memorable (maybe even a great) Blanche DuBois, and 2) it's time for directors to turn off the ...
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Theatre in Review: Have You Met Jane Goodall and Her Mother? (Ensemble Studio Theatre)
By the end of Michael Walek's new play, I'm not sure we have met Jane Goodall, for the very good reason that she often is sidelined in the vehicle bearing her name. Have You Met Jane Goodall and Her Mother? is ...
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Theatre in Review: Platinum Dreams (The York Theatre/The Theatre at St. Jean)
Platinum Dreams is part of York's New2NY series of debut works but, thanks to its long and checkered history, it could be part of the company's Musicals in Mufti series, which focuses on also-rans from the past. Indeed, ...
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Theatre in Review: The Great Privation (How to flip ten cents into a dollar) (Soho Rep)
If you were worried that in moving to 42nd Street and sharing digs with Playwrights Horizons, Soho Rep had gone "uptown," I offer the example of The Great Privation (How to flip tent cents into a dollar): It's a time ...
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