“We’ll Meet Again” Review
We’ll Meet Again Richard Loring’s nostalgic musical tribute to World War II. Director/Set...
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Review
“Lotus Beauty,” Hampstead Theatre
Theatre is slowly recovering from the effects of the pandemic, and many shows which were canceled...
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“House of Ife,” Bush Theatre
In the past, most plays by black-British writers have been about the legacy of the Windrush...
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The Meaning of Theater: Slava Stepnov’s “Flawed Choir” at the Steps Theatre
“All the world’s a stage,” says a character in William Shakespeare’s “As You Like It.” “Life...
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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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“The Haunting of Susan A” at The King’s Head Theatre
Konrad: Hello, I’m Konrad. I’m here to share an account of the production of Mark Ravenhill’s The...
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The Beast is Back: Radiotheatre’s Live Audio Play “King Kong”
Since its original 1933 film debut, the story of King Kong has become a mainstay of America’s, and...
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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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Fresh “Ham” at the Public
Fat Ham arrives at the Public Theater for its first live production following the Zoom staging by...
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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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“Legend of The Waitress & The Robber” – A Korean American Cross Cultural Collaboration Makes it to New York City
The Legend of The Waitress & The Robber, a new musical theater piece by Renee Philippi, a...
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South Australia’s Limestone Coast Was Formed from the Bones of Dead Fish. “Cathedral” Brings the Story of These Caves to the Stage
Review: Cathedral, directed by Shannon Rush for the State Theatre Company of South Australia...
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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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“Son of Byblos” Brings a Nuanced and Powerful Understanding of Lebanese Family Life to the Australian Stage
Review: Son of Byblos, directed by Anna Jahjah for Brave New World Theatre Company The downstairs...
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“The Burnt City,” One Cartridge Place
Punchdrunk theatre, the eponymous progenitors of “immersive theatre,” have been wowing...
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“Abril imaginario”: One Step Beyond Immersive and Collaborative Theater
It is the second time that Los números imaginarios (The imaginary numbers), a Spanish company of...
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Ivo van Hove’s “Age of Rage” at Barbican
Ivo van Hove’s production of Age of Rage is sourced from six plays by Euripides and one by...
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“Stay Woke” Reminded Me of The Importance of Telling Stories of Injustice by Those Most Affected by It
Review: Stay Woke, by Aran Thangaratnam, directed by Bridget Balodis. The lingering smell of...
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“Black Boy,” or What to Do with the White Theatre Critic
What do you do when you are blown away by a show, and yet you know that there is something...
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Daniela Bershan and Others — “OCEAN”
OCEAN, or the touch of a relational lifeworld Sometimes, a performance, a work of art, reveals its...
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