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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Jonathan Kalb
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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New Rapp: “The Sound Inside”
Adam Rapp is a polarizing playwright. After bursting onto the scene in 2001 with Nocturne — a...
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“Slave Play”: Jeremy O. Harris’s “Balcony”
Jeremy O. Harris’s Slave Play is the New York theater’s scandal du saison. It’s a play about race...
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Solving the “Lulu” Problem
Frank Wedekind’s Lulu is the archetypal modern classic about a sexy woman. Precisely for that...
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“Betrayal”: Popular Pinter
Betrayal is unique in the Pinter canon. Now beginning its fourth run on Broadway, it’s proving to...
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“Gary” Isn’t Queer Enough
The critical responses to Taylor Mac’s debut, Gary: A Sequel to Titus Andronicus, have been...
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What Schreck’s Endings Mean To Me
Lately, whenever people ask for advice on what theater to see in New York, the show I’ve mentioned...
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Bowled Over: Suzan-Lori Parks’ “White Noise”
Suzan-Lori Parks has written a dark and disturbing allegory about the seemingly impossible dream...
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