“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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New York
Daughters of Misfortune: Guillermo Calderón’s “Villa”
Trauma affects everyone differently. Survivors may become fragile or embittered, depressed or...
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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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A Conversation With Anne Bogart: “I’m Absolutely Certain That Certainty Is Bad”
An originator of the Viewpoints system of training for actors and founder of SITI company,...
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Love Revolution: The Assembly’s “Home/Sick”
Commitment is hard. Even within the well-defined parameters of traditional monogamy, balancing the...
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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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Inside Preparations for the New York Chekhov Festival
On March 24, The Russian Arts Theater and Studio will launch its first annual New York Chekhov...
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Women on the Verge: Caryl Churchill’s “Escaped Alone”
In an 1896 essay on “The Tragic in Daily Life,” the Symbolist playwright Maurice Maeterlinck...
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“Champion” – Scenes From a Boxer’s Life, A New Opera
In an inviting, Frank Lloyd Wright-designed venue, New Yorkers finally got a sampling of Champion,...
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Death on the Rialto: Wallace Shawn’s “Evening at the Talk House”
As goes the theater, so goes civilization. In Wallace Shawn’s Evening at the Talk House the demise...
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“Oh Boy!”: From Champigny to Broadway
Following the U.S. premiere of Oh Boy! on Broadway, at the Duke on 42nd Street presented by the...
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The Things We Carry: Geoff Sobelle’s “The Object Lesson”
“Do your things spark joy?” That (to some, risibly) simple question, and her runaway 2014...
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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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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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