Theater
Abigail C. Onwunali’s powerhouse performance is memorable, but the mechanics of Mfoniso Udofia’s play don’t always match the lead’s boundary-stretching strengths.
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This stage adaptation of Mary Shelley’s novel earns its keep — the production is provocative, well acted, and completely engaging.
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Director Jamie Lloyd’s loud and brash revival is all sound and fury, signifying nothing.
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This is a well-honed, mostly successful script about the difficulties of making human connections — a drama about seizing the day.
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The script is an experiment, a (sometimes) witty lecture on language. But it doesn’t work dramatically.
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William A. Everett’s book is well-researched but based on a problematic premise.
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Tony winning playwright Joe DiPietro does a commendable job of dramatizing the true-life confrontation between Margaret Chase Smith and Joseph McCarthy while they were both serving in the United States Senate.
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“Leopoldstadt” is one of Tom Stoppard’s most heartfelt and expansive works, its poignant storyline inspired by events in his own life.
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Reviews of three shows seen during a trip to Ireland and England — Shakespeare at London’s Globe and “Dublin Oldschool” and “Riverdance” in Dublin.
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As the run continues, the torrent of gags will probably settle into place and proper narrative rhythms emerge. But for now, the game’s aground.
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Arts Commentary: From the Editor’s Desk — By Popular Demand, 2026