New York Archives - Page 17 of 26

Wit’s End: Will Eno’s “Thom Pain”

Posted by Jonathan Kalb | 16th Nov 2018 | New York, Review, United States of America

“So, a horse walks into a bar. The bartender says, ‘Why the long face?’ And the horse says, ‘I’m...

“The Prom” Is a Celebratory Trumpian Footloose When We Need It Most

Posted by Michael Appler | 15th Nov 2018 | Musical Theatre, New York, Review, United States of America

Maybe “The Prom’s” greatest success, in all of its glitter and be gay, is a validation that splashy, garish musical comedies, themselves no champion of political correctness, can still be made from scratch. “The Prom,” exceptionally original yet cradled by tradition, is proof that bursting into jazz hands when someone puts you down is still a worthy prescription for joy.

“Daniel’s Husband” At Westside Theatre

Posted by Jack Wernick | 10th Nov 2018 | LGBTQ+ Theatre, New York, Review, United States of America

A poignant, topical chamber piece for five characters, Daniel’s Husband commences with two gay...

At LCT, “Plot Points In Our Sexual Development” Traces the Edges of Queer Intimacy

Posted by Michael Appler | 8th Nov 2018 | LGBTQ+ Theatre, New York, Review, United States of America

Queer spaces, Miranda Rose Hall suggests, are uniquely suited to plot the points of sexual development, to explore the dynamic, malleable nature of identity. Queer sex not as negotiation or imitation, but as creation and innovation.

“The Ferryman” Steers Us to the Crossroads of Family and Myth, History and Tradition

Posted by Michael Appler | 8th Nov 2018 | New York, Review, United States of America

Beyond the guises of harvest festivity, more sinister fates are at work. Holy vows have been broken. Betrayals and tragic sin done. Promises not made, innocent slain and wars unwon.

“Torch Song” Breathes New Life, Radiantly Led By Michael Urie

Posted by Michael Appler | 8th Nov 2018 | LGBTQ+ Theatre, New York, Review, United States of America

You may find that this glorious Broadway revival, led by Michael Urie and Mercedes Ruehl in the same theater where it opened over 35 years ago, burns a softer flame — no less bright, for sure, but perhaps a bit more tender, lit for a time when a drag queen poised before a Broadway audience, while no less political, is imaginably less avant-garde.

“Eve’s Song” Makes An Ambitious Attempt at Tackling Family and Violence in Black America

Posted by Michael Appler | 7th Nov 2018 | New York, Review, United States of America

While Eve’s Song hopes to confront systemic issues of violence and race in America, it looks to do so amidst the microscopic setting of the family table — not a microcosm of these problems but an island that seeks to distance itself from them.

“Rags Parkland Sings The Songs Of The Future” – Sci-fi Folk Concert at Ars Nova

Posted by Abigail Weil | 2nd Nov 2018 | New York, Review, United States of America

What forces in today’s society will retain their power three hundred years into the future?...

Jonathan Kalb Interviews Himself On Daniel Fish’s “Oklahoma!”

Posted by Jonathan Kalb | 2nd Nov 2018 | Interview, Musical Theatre, New York, Review, Theatre and Disability, Transcultural Collaborations, United States of America

Jonathan Kalb: So Jonathan, did you like the show? Jonathan Kalb: Can we come back to that,...

In “Midsummer” The Mobile Unit Delivers a Joyous Celebration of Life and Shakespeare

Posted by Michael Appler | 1st Nov 2018 | New York, Review, United States of America

Joe Papp would be proud had he lived to see what his Mobile Theater had become: a brimming, joyous sanctuary of inclusivity and plurality, of Shakespearean excellence armed with subtle and striking mindfulness, no longer a struggling caravan of the American theater’s earliest pioneers, but a rag-tag group of brilliant players all the same.

Who Is Theater Maker Ellenor Riley-Condit?

Posted by Emma Kantor | 31st Oct 2018 | Chicago, Devised Theatre, Directing, Interview, New York, United States of America

Ellenor Riley-Condit is an actor, producer, creator, and artistic director of The Syndicate. She...

Dianne Wiest’s Winnie In Madison Square Park

Posted by Jonathan Kalb | 30th Oct 2018 | New York, Review, United States of America

Nothing you do this week will likely be more worthwhile than spending 40-odd minutes with Dianne...

The Modern Woman In “Artemisia’s Intent”

Posted by Marcina Zaccaria | 26th Oct 2018 | New York, Review, Theatre and Art, Theatre and Gender, United States of America

The Anthropologists reach deep into their own doctrine to discover the depth behind the classic...

Oscar Wilde’s “Salome” At Irondale

Posted by Jack Wernick | 25th Oct 2018 | New York, Review, Theatre and Dance, United States of America

M-34 Productions and FringeNYC present a dazzling new production of Salome at the Irondale Center...

Mark Sonnenblick And “Midnight At The Never Get”

Posted by David Vernon | 19th Oct 2018 | Interview, LGBTQ+ Theatre, Musical Theatre, New York, United States of America

Mark Sonnenblick is a composer, lyricist, and scriptwriter. His latest collaboration is Midnight...

A Wry Takedown Of Pepys’s Misogyny: “17c” By Big Dance Theater, Dance Umbrella Festival, London

Posted by Lisa Marie Bowler | 17th Oct 2018 | Dance Umbrella 2018, Festivals, London, New York, Review, United Kingdom, United States of America

As a passionate Londoner, I cannot help but be intrigued: a group of Americans is here to present...

Too Close To Home: Stefano Massini’s “Intractable Woman”

Posted by Jonathan Kalb | 7th Oct 2018 | Italy, New York, Review, Theatre and Politics, United States of America

A week after Donald Trump was inaugurated, the atomic scientists who keep the famous Doomsday...

“I Was Most Alive With You” Pays Proper Tribute to The D/deaf Community

Posted by Madison Parrotta | 28th Sep 2018 | New York, Review, Theatre and Disability, United States of America

Playwrights Horizons’ production of I Was Most Alive With You by Craig Lucas was otherworldly in...

Rob Roth’s “Soundstage” Fires Up Acoustic Imaginaries

Posted by KaiChieh Tu | 22nd Sep 2018 | LGBTQ+ Theatre, New York, Review, Theatre and Gender, United States of America

oundstage, conceived by residency artist Rob Roth at HERE, is a compelling stream of consciousness that flows along with the sound waves and vintage film footage. With stunning technicality and poetic sensitivity, the show paints and composes the complex emotions when we are left alone, discarded and exiled into our most profound addictions and desires.