THE HANGOVER REPORT – Horton Foote’s warm, bittersweet THE ROADS TO HOME is a rich love letter to Harrison, TX

I always cherish my trips to the fictitious Texas town of Harrison via the late, great Horton Foote’s plays. Although Mr. Foote almost always set his engrossing, gentle plays in … Continue Reading →

THE HANGOVER REPORT – Mike Bartlett’s LOVE, LOVE, LOVE is a brilliant love story for our times

Mike Bartlett’s surprising multi-generational love story Love, Love, Love opened last night at Off-Broadway’s Laura Pels Theatre, courtesy of Roundabout Theatre Company. With this latest play, Mr. Bartlett takes a … Continue Reading →

THE HANGOVER REPORT – Simon Stephens’ deceptively straightforward HEISENBERG is anything but

When I first saw Simon Stephens’ two hander Heisenberg a little more than a year ago (also produced by Manhattan Theatre Club in one of its Off-Broadway spaces at City Center), … Continue Reading →

THE HANGOVER REPORT – The Met’s trenchant new TRISTAN AND ISOLDE takes its audiences on a pitch black journey into the unknown

Last night, I caught up with the Metropolitan Opera’s trenchant and ultimately transcendent new production of Wagner’s Tristan und Isolde. The challenging new staging, by Warsaw-based director Mariusz Trelinski, has … Continue Reading →

VIEWPOINTS – The risks and rewards of high concept revivals: TACT’s SHE STOOPS TO CONQUER vs. Roundabout’s THE CHERRY ORCHARD

High concept revivals can be thrilling affairs. Take last season’s Tony-winning revival of Arthur Miller’s A View from the Bridge, in which Belgian avant-garde theater director Ivo van Hove stripped … Continue Reading →

THE HANGOVER REPORT – Anne Teresa De Keersmaeker’s VORTEX TEMPORUM manifests the relationship between dancers and musicians at BAM

This past weekend, I returned to the Brooklyn Academy of Music to catch Anne Teresa De Keersmaeker’s Vortex Temporum, a dance set to spectral composer Gérard Grisey’s shimmering, tension-filled score … Continue Reading →

VIEWPOINTS – Puppetry and Madness: Jessica Scott’s SHIP OF FOOLS and Kevin Augustine’s THE GOD PROJEKT use phantasmagorical imagery to evoke internal discord

Puppetry, as with the visual arts in general, has the uncanny ability to draw visceral, many times unexplainable, reactions from its viewers. As such, the art form is an ideal … Continue Reading →

THE HANGOVER REPORT – Kaija Saariaho’s CIRCLE MAP dares us to encounter music in a new way, and succeeds

I’ve long been fascinated by the intersection between space/perspective and performance. What better venue in New York, really, than the cavernous Park Avenue Armory, particularly its 55,000 square foot drill … Continue Reading →

THE HANGOVER REPORT – David Rabe’s VISITING EDNA at Chicago’s Steppenwolf is flawed but deeply unsettling

If there’s a poster child for Chicago theater, I would argue it’s the Steppenwolf Theatre Company. The company’s brand of theater is ensemble-based and embraces bold, in-your-face acting style and storytelling. … Continue Reading →

THE HANGOVER REPORT – The Goodman’s visually arresting WONDERFUL TOWN is tremendous fun

Leave it to Mary Zimmerman to come up with a visual equivalent to Leonard Bernstein’s infectious and irresistibly fast-and-loose score. Her production of the classic musical Wonderful Town is a … Continue Reading →