VIEWPOINTS – Two performers and a crack design team: Taking a look at the commonalities between KENREX and NEW OWNER

Also currently Off-Broadway, you’ll find a pair of shows that have striking aspects in common — namely, that they’re each animated by two performers and one crack design team. But … Continue Reading →

VIEWPOINTS – Work that (literally) kills in a dystopian world: Assessing the Off-Broadway revivals of THE ADDING MACHINE and THE RECEPTIONIST

Currently on the boards this spring theater season, you’ll find a pair of Off-Broadway revivals depicting the fraught psychological minefield of employment in a dystopian, not so unfamiliar corporate world. … Continue Reading →

VIEWPOINTS – This spring at Irish Rep: Camouflaging the darkness within in David Ireland’s ULSTER AMERICAN and Mark O’Rowe’s THE APPROACH

This spring down in Chelsea at the Irish Repertory Theatre, I caught a pair of productions that managed to camouflage the dark underbelly of our human nature — until they … Continue Reading →

VIEWPOINTS – The experiment’s the thing in Michael Oluokun’s HAVE YOU EVER THOUGHT ABOUT and Shayok Misha Chowdhury’s RHEOLOGY

In a pair of intriguing productions developed by the always adventurous Bushwick Starr, the experiment was the thing — both in terms of form and content. As per usual, read … Continue Reading →

VIEWPOINTS – HAMLET/HAMNET: Britain’s National Theatre and Royal Shakespeare Company tote their productions stateside

Over the past month or so, two of Britain’s most prominent theater companies — the National Theatre (based in London) and the Royal Shakespeare Company (based in Stratford-upon-Avon) — have … Continue Reading →

VIEWPOINTS – The Chicago report: New works at STEPPENWOLF, GOODMAN, CHICAGO SHAKES, and COURT enliven the spring theater season

This past week, I found myself in the Windy City, where I was able to bask myself in Chicago’s storied theater scene. This spring season, diverse new works were the … Continue Reading →

THE HANGOVER REPORT – Debbie Allen helms an unfussy and sturdily-acted Broadway revival of August Wilson’s JOE TURNER’S COME AND GONE

My 2025/2026 Broadway theatergoing season officially came to a close when I recently attended the highly anticipated revival of August Wilson’s Joe Turner’s Come and Gone at the Ethel Barrymore … Continue Reading →

THE HANGOVER REPORT – Robert Wilson’s avant-garde production of MOBY DICK cracks open the Melville classic, dropping viewers into another dimension

When the legendary Robert Wilson passed away last year, the art world lost one of the indisputable giants of avant-garde theater. An uncompromising auteur who spanned and was equally at … Continue Reading →

THE HANGOVER REPORT – David Lindsay-Abaire’s THE BALUSTERS is as illuminating in its truth-saying as it is hilarious in its shade-throwing

Earlier this week, I had the great opportunity to catch up with David Lindsay-Abaire’s The Balusters, the final new play to open during the 2025-2026 season. Essentially, Lindsay-Abaire’s latest is … Continue Reading →

VIEWPOINTS – THE LOST BOYS and BEACHES: The requisite film-to-stage adaptations arrive on Broadway, and they’re better than you’d think

The last week or so saw the arrival of two film-to-stage adaptations to this relatively timid Broadway season. Despite some wide-ranging word of mouth, they’re actually better than you’d think. … Continue Reading →