Much ado about nihilism.
Indecent is a play of contrasts: piety versus blasphemy, joy versus heartbreak.
The HTC’s Romeo and Juliet may be dressed in modern trappings, but the play’s elemental heart and soul are left fully intact.
A Doll’s House, Part 2 comes off as a return to the barn — after the door has fallen off its hinges.
Acclaimed playwright and screenwriter Michael Cristofer’s script is very open about portraying Emile Griffith’s sexuality.
To an extent, The Niceties does probe a fault line between the Democratic Party and the left: a boundary that will rupture sooner rather than later.
Eleanor Burgess’ The Niceties is an articulate, if structurally crabbed, expression of #blacklivesmatter anger as well as a millennial rebel yell.
Fall’s conflict is presented with insufficient power; its domestic tragedy is not propelled along its inevitably troubling course.
Why has Bernard Weinraub chosen this secretive chapter of Miller’s life as fodder for his play?
Top Girls’ conflicts and political themes seem more relevant than ever in this excellent production.