THE HANGOVER REPORT – Renée Fleming and Ben Winshaw are superb in NORMA JEANE BAKER OF TROY, Anne Carson’s genre-straddling concoction

It’s hard to assess a piece like Anne Carson’s Norma Jeane Baker of Troy, which marks the first theatrical run at the 500-seat Griffin Theater at The Shed, the brand new performing arts … Continue Reading →

THE HANGOVER REPORT – Stephen Petronio Company’s BLOODLINES continues to explore dance heritage via Cunningham, Perez, and a new Petronio

Just for a handful of performances at NYU Skirball (the final performance is tonight), Stephen Petronio Company continues to explore American dance heritage via its ambitious and uncommonly satisfying multi-year … Continue Reading →

THE HANGOVER REPORT – Daniel Fish’s brilliant, radically re-envisioned OKLAHOMA! remains a stunner on Broadway

Earlier this week, only the second and final musical revival of the 2018-2019 Broadway season (after a very fine revival of Cole Porter’s Kiss Me, Kate! at Studio 54) opened when … Continue Reading →

THE HANGOVER REPORT – Stefano Massini’s sweeping THE LEHMAN TRILOGY triumphantly arrives in New York, and it’s masterful in every way

Last night at the Park Avenue Armory, I caught the highly anticipated North American premiere of Stefano Massini’s The Lehman Trilogy, which triumphantly arrives in New York after having been a sold out … Continue Reading →

THE HANGOVER REPORT – The Flea’s revival of Thomas Bradshaw’s SOUTHERN PROMISES observes the Antebellum with deadpan gaze

I recently had a chance to catch the Off-Broadway revival of Thomas Bradshaw’s 2008 play Southern Promises at The Flea Theater. The Flea has long been a supporter and nurturer of … Continue Reading →

THE HANGOVER REPORT – Mara Nelson-Greenberg’s DO YOU FEEL ANGER? examines the gulf between the sexes, and whatnot

This past weekend, I caught Mara Nelson-Greenberg’s new play Do You Feel Anger? Off-Broadway at the Vineyard Theatre. The semi-surrealist play tells the story of an empathy coach who has … Continue Reading →

THE HANGOVER REPORT – Aaron Posner’s LIFE SUCKS uncannily updates and unlocks “Uncle Vanya” for contemporary audiences

In recent years, playwright Aaron Posner has become primarily associated with his trio of barbed contemporary riffs on three classic Chekhov plays – the provocatively named Stupid Fucking Bird, No Sisters, and Life Sucks (respectively after The Seagull, … Continue Reading →

THE HANGOVER REPORT – The sensational AIN’T TOO PROUD is easily the best bio-jukebox musical since “Jersey Boys”

Last night at the Imperial Theatre, I attended what in my opinion is easily the best jukebox musical – and certainly a strong contender for top honors at the end … Continue Reading →

THE HANGOVER REPORT – Janáček’s slight DIARY OF ONE WHO DISAPPEARED is given a tastefully vague staging by Ivo van Hove

For just a handful of performances this past week as part of Brooklyn Academy of Music’s winter/spring season, Flemish opera company Muziektheater Transparant’s production of Leoš Janáček’s Diary of One Who Disappeared played the … Continue Reading →

THE HANGOVER REPORT – Andrea Burns as Judy Holliday in SMART BLONDE shouldn’t be missed

This week at 59E59 Theaters (in a co-presentation with MBL Productions), I had the great opportunity of catching a performance of Smart Blonde, Willy Holtzman’s Off-Broadway play – with lots of music – about … Continue Reading →