Thursday, April 30, 2020
In Richard Nelson’s “What Do We Need to Talk About?,” a familiar clan poses resonant questions about how we connect in the age of social distancing.
SOURCE: The New York Times Subscription at 12:42PMMonday, April 27, 2020
He was a stalwart member of the group of actors who worked with the director Peter Brook. Mr. Myers died of the novel coronavirus.
SOURCE: The New York Times Subscription at 04:24PMThe streaming concert “Take Me to the World,” featuring a gallery of musical stars, honors the probing ambivalence of a master songwriter.
SOURCE: The New York Times Subscription at 12:54PMTuesday, April 21, 2020
The magical kingdom of Broadway is shuttered, but our critic returned to it — or rather a version of it that opened his eyes, Bette Davis wide, to New York theater.
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Remembering an actor of uncommon power who gave heroic stature to a character crippled by depression in “Death of a Salesman.”
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A listening guide to the cast albums, playlists and video footprints left behind by 18 Broadway and Off Broadway musicals.
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Our co-chief theater critics discuss the plays and musicals that reflected and predicted an unstable world.
SOURCE: The New York Times Subscription at 02:36PMTuesday, March 31, 2020
Our chief theater critics have no nickel-plated medallions to hand out, but they find plenty to celebrate among shut-down Broadway offerings.
SOURCE: The New York Times Subscription at 05:42PMFriday, March 27, 2020
It’s a tradition this drama critic would highly recommend to those looking for ways to find magic in empty hours.
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Funny, scary and necessary, this series of taped soliloquies contemplate the way we live now, in isolation.
SOURCE: The New York Times Subscription at 01:24PMThursday, March 12, 2020
An opinionated take on the songwriter’s major works, from a delayed debut to a Pulitzer Prize- winning classic.
SOURCE: The New York Times Subscription at 07:06AMWhy did it take so long for the composer to be unambivalently embraced? Maybe because ambivalence is what he’s embraced most of all.
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This thoughtful, history-spanning portrait of elusive identities testifies to the versatility of its composer, Michael Friedman.
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This ravishing and singular musical, written and directed by Conor McPherson, hears America singing — Dylan — during the Great Depression.
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Katori Hall’s genial play, built around a cooking contest in Memphis, uses a sitcom structure to explore black masculinity.
SOURCE: The New York Times Subscription at 12:54AMWednesday, February 26, 2020
Lucas Hnath’s brilliant, boundary-melting play, starring a marvelous Deirdre O’Connell, is a first-person account of the violent kidnapping of his mother.
SOURCE: The New York Times Subscription at 01:03AMMonday, February 24, 2020
Lauren Yee’s ambitious, tonally mixed play uses bait-and-switch tactics to approach the dark heart of a genocidal regime.
SOURCE: The New York Times Subscription at 10:03PMShe may seem self-effacing, but it takes skill and smarts to be Nora and Hillary and, next, Martha in “Who’s Afraid of Virginia Woolf?”
SOURCE: The New York Times Subscription at 04:03PMThursday, February 20, 2020
Ivo van Hove’s attention-splintering revival of the immortal 1957 musical features new choreography, a ravishing orchestra and smothering visual effects.
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Compelling revivals make “Endgame” (with Alan Cumming and Daniel Radcliffe) and “Far Away” feel more unsettlingly relevant than ever.
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This murky and tedious reworking of Friedrich Dürrenmatt’s dark fable of love and lucre is illuminated by Lesley Manville’s dazzling star turn.
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In what he says will probably be his last work, a master playwright finds urgent lessons for the present in the past of a Viennese family.
SOURCE: The New York Times Subscription at 06:48PMMonday, February 10, 2020
Yaël Farber’s stunning, Dublin-born interpretation of this eternal classic finds the dizzying layers of performance that rule all our lives.
SOURCE: The New York Times Subscription at 10:42PMWednesday, February 5, 2020
The New Group’s musical adaptation of Paul Mazursky’s 1969 movie, featuring Suzanne Vega, doesn’t smirk but it doesn’t soar, either.
SOURCE: The New York Times Subscription at 12:18AMThursday, January 30, 2020
Simon Stone’s contemporary spin on the classic tale of marital vengeance feels more clinical than tragic.
SOURCE: The New York Times Subscription at 10:24PMMonday, January 27, 2020
John Bolton’s new memoir is titled “The Room Where It Happened,” nearly the same as a song from Lin-Manuel Miranda’s Broadway hit.
SOURCE: The New York Times Subscription at 07:33PMThursday, January 23, 2020
This ingenious, bare-bones adaptation of Susan Hill’s Gothic novel — a long-running hit in London — allows audiences to take charge of their fear.
SOURCE: The New York Times Subscription at 10:36PMTuesday, January 21, 2020
Racism is a stealth force in Eboni Booth’s astute study of the (mostly) quiet desperation of minimum-wage workers in Vermont.
SOURCE: The New York Times Subscription at 10:48PMFriday, January 17, 2020
The Public Theater’s festival has included 12 featured offerings, four cabaret acts and six pieces of developmental work. Here’s what our critics saw.
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