Octavio Solis’ Quixote Nuevo, is a genial, and very American, riff on Don Quixote.
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?