"Nerd Meets Pixie-grrl, all over again."
The revival of Wallace Shawn's work isn't nice or easy.
"I saw empty seats at my performance last night! This must not be."
There are about 1,000 reasons to see director Chen Shi-Zheng’s gaudy, goofy flagship popera opening this year’s Lincoln Center Festival.
Plus Tarell Alvin McCraney's Choir Boy.
The Stage Dive Weekend Roundup: The Two Character Play and The Unavoidable Disappearance of Tom Durnin
Amanda Plummer makes existing look so hard in the Tennessee Williams revival.
Carla Gugino as a Manhattan helicopter mom. Yes, please.
What's today's dollar-ducat exchange rate?
"The repression just doesn't press."
"It’s exhausting. Which is not to say it’s unworthwhile."
"When The Master Builder becomes an episode of Gilly, you know something’s wrong."
A musical based on a section of War and Peace.
It's a weak production, too. And yet …
"Nelson’s opening gambit — an appetizer of red herring — pays off spectacularly."
"It’s just cruel for the easy fun of it."
They added a circus!
"Do we really care how hard it is to make a living as a Sherpa on the slopes of power?"
Conceived without sin (but with tragedy).
It's cut to barely 100 minutes.
It ... may hit you like a punch to the heart.
A hard play to defend.
Douglas Carter Beane has written Nathan Lane his best new role in years.
The worst jukebox (with the best tunes) I’ve ever encountered.
Somehow, a goodly dose of Roald Dahl’s puckish sourness makes it onstage.
It’s never boring; it’s never shocking; you are likely to leave entirely entertained and satisfied.