Despite its promising premise, Bess Wohl’s script is yet another wan exercise in genial domestic comedy.
Help sustain an endangered journalistic species — substantial critical coverage of the arts.
Peter Brook has decided to be more than a little stubbornly anti-theatrical in The Prisoner.
The moral of Jen Silverman’s yarn is straightforward enough: we are in a country where self-transformation has become an end in itself, re-invention a default response to omnipresent banality.
Yes, The New Yorker cover pillories the superrich as they ignore the pixie proletariat at their feet. But so what?
The Peculiar Patriot may say it is about making us feel the human price of mass incarceration in America, but there is more than a little True Romance in the mix.
Taylor Mac and Pirandello share the same goal: reveal the deadening vacuity at the heart of bourgeois society and the male ego.
The old questions, good as they are, are going to be augmented with new ones: Are we creating a world worth living in? Are we creating a world we can continue to live in?
Eleanor Burgess’ The Niceties is an articulate, if structurally crabbed, expression of #blacklivesmatter anger as well as a millennial rebel yell.
The Beau Jest Moving Theater staging succeeds at conjuring up the genially comic spirit of the late Larry Coen, a bounteously talented actor and director.