This is a great work, more linear than Tom Stoppard’s earlier dramas, yet filled with such intelligence and compassion that it will be read and seen for years and years and, perhaps, over time be regarded as his richest, most haunting play.
The conversation between Ravi and his mother is funny, engaging, and often illuminating; their real life bond is palpable as the pair try to reconcile the young man’s hopes and dreams with his Indian heritage.
SpeakEasy Stage Company has (once again) chosen a bold script for its audience.
The show is made all the more powerful by the fact that we’ve now spent 12 months enduring Covid and four years of science denial and “alternative facts.”
What will the response be to this innovative marriage of Zoom theater and video gaming? Some viewers will welcome the mash-up, others will not.
It is difficult to think of a harder-working actor or one more devoted to his craft.
This is a very effective political drama, a relevant warning about what social critic Chris Hedges calls the formation of “corporate totalitarianism.”
Mint Theater Company’s choice to revive Days to Come is more intriguing than Lillian Hellman’s muddled play.
Amir Nizar Zuabi’s engaging drama is a hopeful testament to communication and forgiveness.
Our theater critics pick some of the outstanding productions of a year truncated by COVID-19.