Theater
Despite its promising premise, Bess Wohl’s script is yet another wan exercise in genial domestic comedy.
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While the push for diversity in casting is admirable, it’s not enough to resuscitate a script that feels dated, even regressive in its approach to historical storytelling.
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I speak for the legions who benefitted from your friendship and your great energy and talent.
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The company’s staging is dynamic and vivacious, and the unconventional seating arrangements give audience members the chance to place themselves in the center of the action.
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The success or failure of this show rests primarily on the physical presence, voice and acting of the actor playing the celebrated lyric tenor Roland Hayes.
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Acclaimed playwright and screenwriter Michael Cristofer’s script is very open about portraying Emile Griffith’s sexuality.
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The vacuousness of the digital world and the mainstream media is an easy target.
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This musical hodgepodge at the American Repertory Theater could be called ‘Let’s Sing About Me (and Me, and Then More About Me).’
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Peter Brook has decided to be more than a little stubbornly anti-theatrical in The Prisoner.
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Theater Feature: Best Stage Productions of 2018
Our theater critics pick some of the outstanding productions of the year.
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