David Greenham
The “Real” Emily Dickinson never materializes, but the “Real” Mabel Loomis Todd does — and it’s a sometimes shocking and sad story.
You need to hear this play. Especially if you are white and already “know” Othello. Listen again (and again) and prepare to question old assumptions.
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.”
This is a very effective political drama, a relevant warning about what social critic Chris Hedges calls the formation of “corporate totalitarianism.”
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.
A 50th anniversary is a wonderful milestone, and I congratulate the Revels for looking back and huzzahing the occasion as they have.
Underground Railway Theater has a runaway hit. You’ll never see a show quite like it. It’s bold, ridiculous, and very risky.
The New Rep production of Hair is acceptable: if the intent was to look back at a now-dated musical that once caused a stir.
The Effect is about the brain, pharmaceuticals, and how little we know about each.
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