This Great Gatsby is an engaging, tautly rendered, and visually dazzling ride.
A smarter, warmer, bolder revival of The Wiz remains tantalizingly out of reach.
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.
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.
This show never transcends the clichés that it conflictingly both seeks to challenge and embrace.
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 the film, the embrace of storytelling through song and dance is front and center.
In 2023, there was a happy diversity in the tapestry of the theater that resonated most deeply.
Largely missing is the coherent world-building and quicksilver pacing of the novels.
This pro-shot of Waitress is most successful in its close-ups of Bareilles.
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 is one last invitation to let Sondheim’s music guide us through the woods.
O’Casey’s depiction of the incursion of war on the lives of the innocent shudders with timeliness.