Robert Israel
Joshua Harmon’s play offers numerous instances of familial turbulence, moments of rhapsodic relief and — to avoid spoilers — revelations of how guilt and hostility fuse to create irreparable fissures in the family dynamic.
Overall, the In the Fiddler’s House concert captured the infectious joy of this wondrous musical genre.
If there is power in being invited, for the space of 80 minutes, to suspend our fear of where things are going, this show is a place where we can feel safe to do just that.
If John Lahr could learn, even in his eighties, to cut back on his own self-adoration and stop being so damned star struck, the razzle in his profiles would dazzle all the more.
“Kim’s Convenience” offers a genial comic glimpse of an immigrant family’s struggle for dignity and an economic foothold.
The biographer puts far too much emphasis on Sam Shepard’s louche life, neglecting to provide much analysis about the value of his stage work, particularly on whether it will endure.
Shakespeare’s “Macbeth” serves as a springboard for a memorable new vision by these inventive, multimedia theater artists.
A generous serving of what theater critic John Lahr calls playwright John Guare’s “funhouse-mirror reflection of American life’s caprice and chaos in the twentieth and twenty-first centuries.”
Chris Grace invites us to think about mortality with him, to learn something from his stories, and to share a few heartwarming laughs along the way.
Playwright Eboni Booth won last year’s Pulitzer Prize for Drama for this script, and it is a heartwarming, well-constructed, one-act.
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