Jonathan Spector’s Birthright opens with a disappearance and ends with one. In between: three hours and twenty minutes of the…
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‘Music City’ screams Nashville until one performer just lives it
In "Music City," a scrappy, Nashville-inspired Off-Broadway jukebox musical oversells its opening, then Lauren "LOLO" Pritchard arrives.
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Wayne Brady and Billy Porter find the heart of ‘La Cage aux Folles.’ Everything else needs a little more mascara
Billy Porter and Wayne Brady anchor 'La Cage aux Folles' at Encores!. But the direction and design drift far from…
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In ‘Label•less,’ every monologue is followed by a song. The music always wins
Drew & Lea Lachey's 'Label-less' has a script that stumbles, but vocals too good to miss.
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Free Shakespeare in the Park’s ‘Romeo & Juliet’ loses its passion chasing politics
Free Shakespeare in the Park's 'Romeo & Juliet' has a bold vision and a cast to match, but its border-town…
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‘Girl, Interrupted’ has something urgent to say. So why does it feel so distant?
Martyna Majok and Aimee Mann's "Girl, Interrupted" is atmospherically rich but never quite escapes its own narrative remove at the…
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In ‘Jerome,’ a dying man’s last gift is someone to leave behind
A love story in which a dying man's most urgent project is making sure the people he leaves behind still…
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‘And Then the Rodeo Burned Down’ puts clown labor center stage. Xhloe and Natasha have the lighter
Xhloe and Natasha know who does the dangerous work at the rodeo, and who gets the glory. The clown always…
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In ‘||: Girls :||: Chance :||: Music :||,’ big ideas can’t find their rhythm
Eisa Davis's new play at Vineyard Theatre has rich themes—girlhood, chance, survival—but the production keeps audiences at arm's length.
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In ‘The Maids,’ good help is hard to find
Kip Williams updates Genet's "The Maids" with AR filters and influencer culture at St. Ann's Warehouse.
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