Thomas Ostermeier’s “Returning To Reims”
Plays set in recording studios, in my experience, are usually stories of entrapment. The spaces...
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Jonathan Kalb
Robert O’Hara’s “Mankind”: Desperately Trying to Get in Trouble
I want the experience for the audience to be a sort of speeding train that gets completely and...
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Lucy Kirkwood’s “The Children” – The Environmental Disaster and Ethics
Annoying as it is, I have to start with a spoiler alert. That’s because what’s most interesting to...
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Afterthoughts On Ivo van Hove’s “The Fountainhead”
Toward the end of the fourth and final hour of Ivo van Hove’s interminable adaptation of Ayn...
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Julia Cho’s “Office Hour”
Julia Cho’s Office Hour began life as a reaction to the 2007 mass-shooting at Virginia Tech. It...
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“Tiny Beautiful Things” at The Public Theatre
Dear Dust Man, I’m an avid theatergoer who missed seeing Nia Vardalos’s stage adaptation of Cheryl...
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David Greenspan’s One-Man, 6-Hour Performance of Eugene O’Neill’s “Strange Interlude”
The most interesting question about David Greenspan’s one-man, 6-hour performance of Eugene...
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Maria Irene Fornes’s “Mud” at Teatro Circulo
Maria Irene Fornes’s 1983 play Mud, widely considered a contemporary classic, is rarely produced...
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Thomas Ostermeier’s “Richard III” at BAM
Richard Crookback is Shakespeare’s dazzling carnival monster, a showoff criminal who charms us...
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“Beckett In The City”
From Brecht’s plan to project films of Marxist revolutions behind Didi and Gogo in Waiting For...
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“A Doll’s House, Part 2” Is No Deep Analysis Of Its Source
A Doll’s House made Henrik Ibsen a household name in 1879. It ruffled feathers throughout the...
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“Charlie and the Chocolate Factory” on Broadway
My companion at Charlie and the Chocolate Factory, the new Broadway musical adaptation of Roald...
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“The Hairy Ape” at the Park Avenue Armory, NYC
As I sat in my $95 seat applauding the elegant and very smart production of Eugene O’Neill’s The...
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Understated Risk-Taking in Beckettian “Wakey, Wakey”
Audacious risk-taking in the theater comes in many colors, most of them loud. You can defy a...
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“Come From Away” – New Canadian Musical on Broadway
Come From Away, a relentlessly peppy new musical by the Canadian husband-wife team David Hein and...
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“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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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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