Mary Zimmerman Directs “Rusalka” at The Met
Antonín Dvořák’s classic story of a water nymph opened at the Met on February 2. Seeing...
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New York
Last Spring, Dementia Made It to Broadway! Part 2
Last spring, dementia made it to Broadway! Let me be clear: I am an Avant-garde type and I am wary...
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August Wilson’s “Jitney” on Broadway
A brief—dashed, if you will—argument for the relevance, humanness, and endearment of themes in...
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The Need for Supertitles or Not
Two shows recently seen at the Under The Radar festival in New York gave me the opportunity to...
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Pith and Pathos In “Mata Hari” – A New Opera at HERE
There is no doubting the ambitions of Mata Hari, enjoying its world premiere at HERE, in New...
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Dementia: The Theater Season’s “In” Disease Part 1
Not so long ago characters didn’t lose their memories onstage, even if on rare occasion actors...
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Streaming Opera and Media: “Secondary Dominance” at PROTOTYPE
PROTOTYPE captures the opera lover’s attention again this year, with offerings that...
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Dramaturgy of the Duels in Lin-Manuel Miranda’s “Hamilton”
Pistol Dueling in the Early United States as Presented on the Broadway Stage Two men face off in...
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The Delicate Side of Heavy Metal: Philippe Quesne’s “La Mélancolie des Dragons”
Striking visual images from French director Philippe Quesne’s “La Mélancolie des Dragons,” presented by The Public Theater’s Under The Radar Festival.
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Lars von Trier’s “Breaking the Waves” Opera at PROTOTYPE: Opera/Theatre/Now
Both postmodern tragedy and ageless love story, Lars von Trier’s 1996 film seemed inevitable...
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Catch as Catch Can: Holden at the New Ohio Theatre
Reading J. D. Salinger’s 1951 The Catcher in the Rye marks the moment in the lives of countless...
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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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A Dramaturg’s Process in NYMF’s NextLink Project
It is much more challenging to dramaturg a musical than a straight play because there are so many more elements to consider, assess, and attempt to balance out. I examine each song in the score in terms of style, tempo, tone, melody, and length.
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“Cut Piece for Pants Suit” in Madison Square Park
Once every four years most Americans sheepishly admit to trusted friends of similar political...
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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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Chekhov Resonates: “The Hummm” at Dixon Place
Chekhov’s Three Sisters is distilled into vibration and iteration in The Hummm, a radical...
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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 American Tour Of Contemporary Romanian Female Artists: Empowering Women
On the nights of November 18 & November 20, 2016, at Here Arts Centre, NYC, I was being...
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Theater Review: Helluva Theatre Takes on Shaw’s “Major Barbara”
Helluva Theatre Company—newly formed under the mission to produce plays from the traditional canon...
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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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