“Love”—A Dissenting View
Alexander Zeldin’s Love— a much-celebrated, quietly confrontational, British-devised piece from...
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Jonathan Kalb
The Blackest Raisin: “A Raisin in the Sun” at The Public Theatre
Lorraine Hansberry’s A Raisin in the Sun, as anyone reading this knows, is a cornerstone of...
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The 90-Minute MacGuffin: “Four Saints in Three Acts”
The opera Four Saints in Three Acts’ astonishingly successful run on Broadway in 1934 was the most...
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Honey, I’m Home! — Robert Icke’s “Oresteia”
If nothing else, you have to admire the chutzpah of Robert Icke’s Oresteia, which tries to...
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Leveling Effects: Matthew Spangler’s Adaptation of “The Kite Runner”
Khaled Hosseini’s 2003 novel The Kite Runner is a vividly descriptive and often gripping tale of...
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Post-Factual Theater: “MJ” on Broadway
On the way to a play one day in early 2019, I climbed out of the subway at 8th Avenue and 44th St....
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Unmanly Griefs: Robert Icke’s “Hamlet”
The first ten minutes of Robert Icke’s 3 ¾-hour Hamlet had me worried. Icke is a British directing...
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Pandemonium Magic: “The Hang” at HERE
Taylor Mac is one of those magi of pandemonium who knows how to breach the defenses of people like...
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Cut From Different Cloth: “Intimate Apparel” at Mitzi E. Newhouse Theater
I went to the new opera Intimate Apparel because the 2003 play it was made from is one of my...
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Black Second-Act Problems: “Black No More” by The New Group
In my time as a critic I’ve noticed on numerous occasions that musicals rooted in political...
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Frenemies and Freedom: “Confederates,” Signature Theatre
Dominique Morisseau is aware that most of her fans see her as a predominantly naturalistic...
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Missing Mason Jars —”Take Me Out,” Second Stage
Walking out of the spiffy new production of Richard Greenberg’s Take Me Out, my canny friend Tom,...
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Learning Curve—”How I Learned to Drive,” Manhattan Theatre Club
Paula Vogel’s How I Learned to Drive is, famously, the play that blew the lid off the subject of...
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More Morisseau: “Skeleton Crew” by Dominique Morisseau
Skeleton Crew is Dominique Morisseau’s best play so far. It’s the most streamlined work in her...
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Little Things We Do Together—Marianne Elliott’s “Company”
As most people reading this will already know, Company was first reworked for a female Bobbie...
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Static Electricity: Beckett at Under the Radar
“Static” is one of those words from which most artists recoil. It’s typically used for something...
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Dollhouse: Innovative New Plays for A Traditional Set Piece
An oddity of this theatrical season to ponder as we bid farewell to 2019: In two current New York...
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“Judgement Day”: Illusions of Grandeur
Two years ago, the British director Richard Jones brought a stunning production of Eugene...
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“History of Violence” and How Your iPhone is a Culprit
First of all, don’t be put off by the pompous, academic title. Thomas Ostermeier’s...
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“Reparations” at the Billie
James Sheldon’s Reparations is a new play about racial grievance, guilt, and retribution in...
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