THE HANGOVER REPORT – The new musical CHRISTMAS IN HELL works as a series of amusing, sophomoric comedic sketches, but not as a coherent musical

I recently had a chance to see Christmas in Hell, a new Off-Broadway musical by Gary Apple presented by York Theatre Company. The musical, which was previously seen at the New … Continue Reading →

THE HANGOVER REPORT – William Kentridge’s monumental, sprawling spectacle THE HEAD AND THE LOAD at the Park Avenue Armory was an unsettling, poetic epic

Earlier this month, I caught South African artist William Kentridge’s monumental The Head and the Load at the appropriately massive Drill Hall of the Park Avenue Armory. His visceral, collage-like aesthetic … Continue Reading →

THE HANGOVER REPORT – The dynamically-staged musical adaptation of CLUELESS is simply breezy entertainment

This winter at the Pershing Square Signature Center, Clueless – that iconic high school flick from the 1990s – has been turned into a stage musical by Amy Heckerling for The New Group. Clueless, an update … Continue Reading →

THE HANGOVER REPORT – The scrappy new musical THE APPLE BOYS is completely and unexpectedly charming and disarming

This past weekend, I had the great pleasure of catching Jonothon Lyons and Ben Bonnema’s The Apple Boys: A Barbershop Quartet Musical. If the title fails to excite, trust me, the scrappy, completely … Continue Reading →

THE HANGOVER REPORT – Heather Raffo’s NOURA is an intelligent, absorbing contemporary riff on Ibsen’s “A Doll’s House”

This week, Heather Raffo’s intelligent and absorbing new play Noura opened Off-Broadway at Playwrights Horizons. The play was first seen as part of Women’s Voices Theater Festival, the excellent annual … Continue Reading →

THE HANGOVER REPORT – Jeremy O. Harris’s suffocating and disturbed SLAVE PLAY is a rabbit hole from which there is no easy way out

This past weekend, Jeremy O. Harris’s new play Slave Play opened Off-Broadway at New York Theatre Workshop. The play tells the story of three interracial couples who try to work … Continue Reading →

THE HANGOVER REPORT – Patricia Ione Lloyd’s broadly-acted EVE’S SONG is a metaphorical ghost story, and it’s haunting and unsettling

This past weekend, I caught the penultimate performance of Patricia Ione Lloyd’s Eve’s Song at the Public Theater. The play is one of several this fall to explore the realities … Continue Reading →

THE HANGOVER REPORT – More than a decade on, Martin Moran revisits his exquisitely-wrought, deeply conflicted THE TRICKY PART in the #MeToo era

This weekend, I caught Martin Moran’s re-visitation of his exquisitely wrought, deeply conflicted 2005 one-man theatrical memoir The Tricky Part at the TBG Mainstage Theatre. I had read a lot … Continue Reading →

VIEWPOINTS – BAM’s Next Wave Festival, Weeks 7-11: Memorable highlights include the dramatization of Joan Didion’s THE WHITE ALBUM and Mark-Anthony Turnage’s visceral opera GREEK

Weeks 7 through 11 of the Brooklyn Academy of Music’s Next Wave Festival showcased to BAM-goers a wide variety of genres in its three distinct spaces (the BAM Howard Gilman Opera House, BAM Harvey, and BAM … Continue Reading →

THE HANGOVER REPORT – The disarmingly straightforward and completely charming A CHILD’S CHRISTMAS IN WALES warmly conjures the spirit of the holidays

This week, I was finally able to catch Irish Repertory Theatre’s production of A Child’s Christmas in Wales, adapted by Charlotte Moore from the writings of Dylan Thomas. The musical … Continue Reading →