Is this the underwhelming Kit Kat Club all over again? Well, yes and no.
‘The Great Gatsby’ Review: A Musical Take on a Classic Gets a Miraculous Broadway Makeover
This Great Gatsby is an engaging, tautly rendered, and visually dazzling ride.
Mac discusses experience of starring in Sarah Ruhl’s show and the projects waiting in the wings.
The Wiz Review: Despite Stunning Performances, New Revival Eases Aimlessly Down the Road
A smarter, warmer, bolder revival of The Wiz remains tantalizingly out of reach.
Lempicka Review: A Tonally Jumbled Celebration of the Undervalued “Baroness with a Brush”
It never stands a chance of being so bad it’s good because it wants to be good so badly.
In Zinnie Harris’s play, Lady Macbeth gets tangled in her own unraveling.
‘The Outsiders’ Review: Greasers and Socs Will Get a Hold on You in Musical Adaptation
Under Danya Taymor’s direction, this is a remarkable, emotionally arresting piece of theater.
Sam Gold’s sharply accelerating production reveals the horror of hypocrisy.
The Notebook Review: On Stage, a Nicholas Sparks Adaptation Held Captive by Its Clichés
This show never transcends the clichés that it conflictingly both seeks to challenge and embrace.
Illinoise Review: Sufjan Stevens’s Illinois Comes Movingly Alive in Justin Peck’s Adaptation
Illinoise functions like a particularly classy jukebox musical.
Fiasco Theater’s production of Pericles is an electrifying act of double-resurrection itself.
The Connector’s characters reach beyond their time and place to point, Cassandra-like, toward the litany of offenses against the truth that would stack up over 25 years.
In its new iteration, Under the Radar, which runs through January 21, hasn’t missed a step.
In 2023, there was a happy diversity in the tapestry of the theater that resonated most deeply.
There are few dramatic moments that justify the music that stems from the songs.
It’s surprising how much of Spamalot’s humor now feels rooted in an earlier time.
I Need That is a vehicle built for two that mostly just spins its wheels.
‘Here We Are’ Review: Stephen Sondheim’s Final Master Class Is Small and Funny and Fine
Here We Are is one last invitation to let Sondheim’s music guide us through the woods.
DruidO’Casey Review: Sean O’Casey’s Trilogy Is a Tragic Vision of Working-Class Dublin Life
O’Casey’s depiction of the incursion of war on the lives of the innocent shudders with timeliness.
‘Purlie Victorious’ Review: Ossie Davis’s Outsized Jim Crow Satire Returns to Broadway
Across this revival of Purlie Victorious, it’s rare that the silliness and sobriety intermix.
There are pauses, yes, in Infinite Life, but they’re far from mere stylistic flourishes.