O’Hara discusses encouraging complicity between the audience and the production.
Nair discusses the importance of bringing her most popular movie to the stage and more.
Sher discusses how Camelot speaks to our current turbulent era of national politics.
Never before has a boy triumphed more.
Comer’s Tessa wins the case for Suzie Miller’s play as urgent, necessary theater.
Ijames celebrates his characters in all their hammy, juicy humanity.
Shucked should probably invest in some “Keep the punchlines” pins.
What’s frustrating about the play is that it skims and skids on and around interesting ideas.
Sweeney Todd can still shock, even if this production seldom goes for the jugular.
The Harder They Come deserves a weirder, more surprising stage adaptation.
Pictures from Home is a frantically verbal adaptation that’s not given to subtlety.
A united community is a powerful force that can be used for healing or destruction.
These shows range from revitalizing revivals to redemptive restagings of undervalued gems.
The show’s pizzazz may be enough to help it survive in a turbulent Broadway landscape.
Thomas Ostermeier’s production reclaims Hamlet, fleetingly but full-heartedly, for all of us.
Hare discusses his particular take on Robert Moses and the kind of theater he favors.
Watching the play is squirmingly uncomfortable in a way that reading Hanya Yanagihara’s book never is.
At its most arresting, american (tele)visions stirs its characters’ guiding emotions into a frenzied mixture that matches and mirrors the overwhelming intensity of the on-stage screens.
If this Richard III has a guiding concept, it’s in the dismantling and displacement of Shakespeare’s treatment of disability.
Let’s hope Broadway’s most racially diverse season will be capped by a ceremony that fully celebrates that sea change.
Paula Vogel discusses why she thinks her play has remained sadly pertinent over the past two and a half decades.