New York Archives | The Theatre Times

The Case for “Hadestown”

Posted by Aisling Murphy | 27th Jan 2020 | Musical Theatre, New York, Review, United States of America

To escape the mundanity of our own everyday. To revel in the ephemerality of storytelling. To...

“Ellen West” at The Prototype Festival

Posted by Abigail Weil | 26th Jan 2020 | Adaptation, New York, Prototype 2020, Review, Theatre and Opera, United States of America

Two embarrassing conditions unsettled me at the top of Ellen West, the new opera by Ricky Ian...

Dollhouse: Innovative New Plays for A Traditional Set Piece

Posted by Jonathan Kalb | 23rd Jan 2020 | LGBTQ Theatre, New York, Review, Theatre and Politics, United States of America

An oddity of this theatrical season to ponder as we bid farewell to 2019: In two current New York...

Broadway: Does “The Great White Way” Live Up to Its Name?

Posted by Alexander Nderitu | 17th Jan 2020 | Africa, Essay, New York, Theatre and Gender, Theatre and Politics, Transcultural Collaborations, United States of America

Ntozake Shange, author of the famous Broadway play For Colored Girls Who Have Considered Suicide /...

“Magdalene” at Prototype Festival

Posted by Abigail Weil | 16th Jan 2020 | Dramaturgy, New York, Prototype 2020, Review, Theatre and Gender, Theatre and Opera, Theatre and Religion, United States of America

What are the first words you think of when you hear the name Mary Magdalene? Prostitute? Saved?...

Rachel Pickup on Her Role in “London Assurance” at NYC’s Irish Repertory Theatre

Posted by Holly Rosen Fink | 12th Jan 2020 | Interview, New York, Theatre and Gender, United States of America

Rachel Pickup is currently playing Lady Gay Spanker in London Assurance, written by Dion...

“Macondo” in New York: Russian Theatre Brings Márquez’s Epic to Life

Posted by Victoria Zavyalova | 4th Jan 2020 | Adaptation, New York, Review, Russian Theatre Abroad, Transcultural Collaborations, United States of America

A thread of life and blood, unconditional love and death, incest and destiny all interconnect in...

Sven Ratzke In “Where Are We Now?” At La MaMa

Posted by Jack Wernick | 27th Dec 2019 | New York, Review, United States of America

The ghost of David Bowie is alive and well and residing in the basement of La MaMa’s...

Who? Whoo! “Other Than We:”Karen Malpede’s Latest Eco-Feminist Play at La MaMa

Posted by Cindy Rosenthal | 18th Dec 2019 | New York, Review, Theatre and Gender, United States of America

Karen Malpede’s plays scream “Pay Attention.” Thus I titled my 2001 New York Times article on I...

Cosmos, Without Us

Posted by Abigail Weil | 15th Dec 2019 | New York, Participatory Theatre, Review, Theatre and Age, Transmedia, United States of America

I’m a thirty-four-year-old straight woman who grew up in the suburbs with an older brother. That...

Krysta Rodriguez on Her Latest Stage Role in “Seared” and Her Collaboration with Theresa Rebeck

Posted by Holly Rosen Fink | 14th Dec 2019 | Acting, Interview, New York, United States of America

If you’re a culture vulture and are interested in TV and theater, most likely, you know a...

“History of Violence” and How Your iPhone is a Culprit

Posted by Jonathan Kalb | 12th Dec 2019 | France, Germany, LGBTQ Theatre, New York, Review, Theatre and Politics, United States of America

First of all, don’t be put off by the pompous, academic title. Thomas Ostermeier’s...

Vampire-Hunting Hijinks: “Police Cops: Badass Be Thy Name” at Soho Playhouse

Posted by Andrew Agress | 7th Dec 2019 | New York, Review, Theatre and Film, United States of America

If you love theatre, namely the experimental kind, I highly recommend a trip to the Edinburgh...

The Great Tamer – A Greek Choreographer’s Bam Debut

Posted by Antigoni Gaitana | 23rd Nov 2019 | Greece, New York, Review, Theatre and Opera, United States of America

It was a devouring mouth or a generative source. The whole performance was a dystopian collage of subconscious associations of the creator. Some of them were personal and some of them were direct references to archetypes and well-known artworks. The non-verbal narrative was constituted by very inventive imagery which was underlined by an ever-present black humor.

“All Hallows Eve” The Musical

Posted by David Vernon | 19th Nov 2019 | New York, Puppetry, Review, United States of America

Composer Paul Rudolph accompanies the cast through a score that is perfectly in sync with the story line. Delightfully, it is a musical score that reminds it’s listener that this is how Musical Theatre “really works.” Both Haley and Lott keep up the musical pace with Barnhart.