“Escaped Alone”: Catastrophe and Fear Meet Surrealism
Like Beckett and Pinter, Caryl Churchill is writing fugues in old age (she’s 77). Far Away, A...
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Jonathan Kalb
Review: Wallance Shawn’s “Evening at the Talk House”
Is it a good or bad thing for a dyed-in-the-wool dystopian like Wallace Shawn when real life...
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Theatre Lie-Detector Test: NYC End-of-the-Year Roundup Edition
TRUE: Daniel Craig has real acting chops. If you doubted this because you thought the role of...
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“The Babylon Line,” Richard Greenberg’s New Play at the Mitzi Newhouse Theatre
Anyone so inclined could find plenty of reasons to carp about The Babylon Line, Richard...
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Lynn Nottage’s “Sweat” at The Public Theatre
What a journey Lynn Nottage’s Sweat has had. When this gorgeously incisive play about heartbreak...
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“The Encounter” Is Merely A Circus Of Distorted Sounds
The Encounter, Simon McBurney’s two-hour intermissionless solo show on Broadway, which many...
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“The Wolves” Explores Character Issues Through Soccer Outside Of The Game
Although the PR images of leaping, lunging and levitating female soccer players seem to promise...
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“Request Concert” – Middle-Class Loneliness, Explored Without a Word
It’s hard to think of a play more diabolically suited to the era of reality TV, vanished privacy...
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“Nat Turner in Jerusalem” at New York Theatre Workshop
Richard Gilman, an old teacher of mine and a terrific critic, used to say that whenever he read...
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Taylor Mac, Patriot: “A 24-Decade History of Popular Music”
Taylor Mac calls his extraordinary theatrical marathon, five years in the making, A 24-Decade...
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The Hamlet Commons
Setting Shakespeare in modern Africa is risky business for a white first-world director. That...
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