Theater
At first, The Submission comes on as an agreeably edgy satire of the automatic embrace of identity politics and political correctness in the academy and popular culture.
Albatross is terrific — a powerful script, vital performance, and imaginative stage design.
Mothers & Sons raises important questions about struggle, acceptance, and love, dramatizing battles that are still being waged.
Ronan Noone’s allegedly frisky sex farce is bloodless.
The Grand Parade is a truly sumptuous feast of imagination, color, emotion and movement; a uniquely dramatic way of interpreting our history as a torrent of events presented without judgment.
The Whole World focuses on the incoherence that lurks underneath the empowering narratives we tell about ourselves.
Had Daniil Kharms’ texts been available at the high tide of the Theater of the Absurd, his plays would be performed alongside those of Samuel Beckett and Eugene Ionesco.
Today’s Broadway is at its best presenting blockbuster spectacles like Wolf Hall and An American in Paris.
Tragedy isn’t when evil triumphs, but when good becomes entangled in its own inevitable contradictions.
Despite the well-intentioned efforts of the cast, Eli Wiesel’s words were lost in space.
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