O’Hara discusses encouraging complicity between the audience and the production.
In Zinnie Harris’s play, Lady Macbeth gets tangled in her own unraveling.
Under Danya Taymor’s direction, this is a remarkable, emotionally arresting piece of theater.
Sam Gold’s sharply accelerating production reveals the horror of hypocrisy.
This show never transcends the clichés that it conflictingly both seeks to challenge and embrace.
Illinoise functions like a particularly classy jukebox musical.
Fiasco Theater’s production of Pericles is an electrifying act of double-resurrection itself.
The Connector’s characters reach beyond their time and place to point, Cassandra-like, toward the litany of offenses against the truth that would stack up over 25 years.
In its new iteration, Under the Radar, which runs through January 21, hasn’t missed a step.
In 2023, there was a happy diversity in the tapestry of the theater that resonated most deeply.
There are few dramatic moments that justify the music that stems from the songs.
It’s surprising how much of Spamalot’s humor now feels rooted in an earlier time.
I Need That is a vehicle built for two that mostly just spins its wheels.
Here We Are is one last invitation to let Sondheim’s music guide us through the woods.
O’Casey’s depiction of the incursion of war on the lives of the innocent shudders with timeliness.
Across this revival of Purlie Victorious, it’s rare that the silliness and sobriety intermix.
There are pauses, yes, in Infinite Life, but they’re far from mere stylistic flourishes.
Shaw discusses the creation of The Shark Is Broken, his memories of the Jaws set, and more.
Few shows have mastered the varied arts of cinematic recreation quite like this one.
Once Upon a One More Time is a frivolously delightful entry into the jukebox genre.
There’s a shadow hanging over the 2023 Tony Awards, and we don’t just mean the WGA strike.