Martin Copenhaver
The Huntington Theatre Company’s staging of Aaron Sorkin’s adaptation finds fresh complexity in Harper Lee’s moral hero, even as uneven performances and distracting choices diminish its power.
Despite striking choreography and a tour-de-force lead, the A.R.T.’s adaptation of Black Swan can’t escape the film’s excesses—or its own thin score.
Jonathan Spector’s successful satire finds biting comedy—and uneasy truth—in the limits of well-meaning consensus.
In this high-energy comedy of creative frustration, history—and hubris—repeat themselves to hilarious effect.
The true star of the Lyric Stage production is Aimee Doherty, who is marvelous in the role of Penelope.
“Wonder” aspires to make us more empathetic and to help us “choose kind.”
Why was the original production of Merrily We Roll Along such an abysmal failure and how did it turn into a hit? Does the new film succeed in capturing the magic of the hit Broadway revival (and is that even possible)?
The themes of “Lizard Boy” would land more squarely—and more powerfully—with a teenage audience than they can with those of us who can only recall such a time in our lives.
The play eventually packs a wallop, but it drags its feet at the start.
Holiday Commentary: Making Room for the Stranger
Sometimes the stranger is someone who is very well known to us, like a father whose strange ways include a devotion to a certain story about a childhood in Wales.
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