Theater
Anne Washburn has a number of good ideas in this play, but the execution falls short.
Gina Gionfriddo’s would-be black comedy about the American worship of money and status is a misfire on all levels.
Director Lee Mikeska Gardner has put together a dazzling production that matches Tom Stoppard’s dazzling script.
Despite this, he is vexed by how the play draws out the anti-Semitism of English audiences
Richard Nelson’s family members talk to each other, not to us. We are privileged to be permitted to listen in.
Bootycandy is sharp-witted and entertaining — but thoroughly sugary.
Socialism is no longer a discredited word, and Fo brings an impish sense of divine comedy to the clash between the haves and the have nots.
MJ Halberstandt’s script is at its strongest when his characters, and how they connect with each other, are the focus.
Lisa Dwan’s performance of these Beckett pieces in a totally darkened theater is powerful and, in the case of Not I, deliciously revelatory.
August Wilson’s dramatized autobiography, thanks to the magnificent actor Eugene Lee, is a stirring experience.
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