Theater Reviews
Andrew Lloyd Webber’s 13th new musical on Broadway adheres to the composer’s usual habits.
The comedian explores the effects and attributes of chatting with strangers and its effect on the world at large.
An unconventional staging of the old-fashioned novel inspires familiar questions about its two main characters.
An incomprehensible and unnecessary staging of the classic tale loses all of the book’s charm.
Flipping the gender of the main character in Stephen Sondheim’s musical inspires new interpretations of this tale of a New York City bachelor.
“Friendship is magic” is the motto of characters in both the animated children’s series My Little Pony and Eric John Meyer’s subtly chilling comedy The Antelope Party.
Sometimes art imitates life, and sometimes life imitates art. And sometimes the two combine in an eerily prescient performance that both inspires and unsettles.
Such is the case with Bleeding Love, the self-described post-apocalyptic musical podcast that serves as a both a fanciful escape and a cautionary tale.
The fires of rage in Medea burn hot, but in Simon Stone’s new adaptation, all we see are the ashes. Stone’s modern-day reworking of Euripides’ familial tragedy about an enraged woman who murders her children offers a more clinical, scientific scrutiny of the circumstances that led a mother to do the unthinkable. And, it is clear, Medea’s story is not as simple as might seem in a Cliff's Notes summary.
“A great nose may be an index of a great soul,” Edmund Rostand wrote in Cyrano de Bergerac. When considering the latest adaptation of this popular tale of love and tragedy, which pointedly lacks a notable physical element of the title character, perhaps the same could be said of the theater as well.
Isaac Mizrahi’s festive production of Sergei Prokofiev’s 1936 composition is a lively entrance into theater for its numerous youthful audience members.
(A)loft Modulation, the new play by Jaymes Jorsling that chronicles years spent in a dilapidated loft that was home to artists, draws upon jazz for its inspiration and presentation.
With its empowered declarations and jubilant choreography, this song could be seen as a moment of victory, well-suited for this play that has already defied expectations by rewriting history.
The crushing of youthful ideals has fueled many a drama, both onstage and off. But few have accomplished this as powerfully, or as devastatingly, as Arthur Miller in his 1947 drama All My Sons…
Almost three years after watching an undeniably qualified woman lose the Presidential election to an undoubtedly unqualified man and remain diplomatic and composed in public, the opportunity to watch her finally give voice to her anger was cathartic, to say the least.
This pleasantly pleasing but unfulfilling creation playing at Paper Mill Playhouse is elevated with by a talented cast, but even the most sincere and enthusiastic performers can’t transform a mediocre show into a satisfying production.
The disarmingly inviting, undeniably powerful play, directed by Olive Butler, has opened on Broadway after a sold-out run at Off-Broadway’s New York Theatre Workshop.
Theater is just one of the social rituals featured in this new musical that skewers and satirizes societal norms and rituals in an ambitiously entertaining, but slightly disappointing, take.
Despite a top-notch creative team and an undeniably talented cast, viewing this musical requires a protective sheen for one’s vision.
There’s a reason why some shows have never succeeded. As much as fans might love them in spite of — or because of — their flaws, their creators simply cannot make them work.
The unabashedly old-fashioned musical (the book is written entirely in rhyming couplets) is an undeniably all-too-relevant production.