THE HANGOVER REPORT – Raul Esparza electrifies in John Doyle’s focused, relevant revival of THE RESISTIBLE RISE OF ARTURO UI

This afternoon, I caught John Doyle’s exceptional revival of Bertolt Brecht’s The Resistible Rise of Arturo Ui for Classic Stage Company. As translated by George Tabori, the episodic, eventful play tells the story of … Continue Reading →

THE HANGOVER REPORT – Kaija Saariaho’s haunting ONLY THE SOUND REMAINS, directed by Peter Sellars, is of a single fabric

Last night, I caught the New York premiere of  Finnish composer Kaija Saariaho’s Only the Sound Remains at the Rose Theater at Jazz at Lincoln Center, by way of Lincoln Center’s White Light … Continue Reading →

THE HANGOVER REPORT – Jez Butterworth’s magnificent THE FERRYMAN has arrived on Broadway, and it’s a meaty masterpiece

I recently caught Jez Butterworth’s meaty new play The Ferryman, which has crossed the pond and arrived in New York, where it has docked at Broadway’s Bernard B. Jacobs Theatre. The play … Continue Reading →

THE HANGOVER REPORT – Michael Bennett’s legendary, seamlessly constructed original staging of A CHORUS LINE remains a staggering achievement

Arguably the headliner of New York City Center’s 75th anniversary season is the gala revival of A Chorus Line, which I caught last night. No other show in my mind is … Continue Reading →

THE HANGOVER REPORT – The big-hearted THE PROM is the Broadway season’s first real musical contender

Last night, the supremely cheery new Broadway musical The Prom opened at the Longacre Theatre, and I’m happy to report that it’s a total hoot. The musical, with a score by … Continue Reading →

THE HANGOVER REPORT – Hansol Jung’s WILD GOOSE DREAMS is lost in translation in several respects

Last night, Hansol Jung’s Wild Goose Dreams opened Off-Broadway at the Public Theater. Largely set in Seoul, the play tells the story of a pair of unlikely star-crossed lovers – … Continue Reading →

THE HANGOVER REPORT – At the Met, Robert Carsen’s striking production rescues Boito’s rarely-performed MEFISTOFELE from weirdness

It’s been a while since I’ve seen a Robert Carsen production. Earlier this week, that dry spell was broken when I attended a performance of the important Canadian director’s striking, rightfully-acclaimed … Continue Reading →

THE HANGOVER REPORT – Glenn Close is majestic in MOTHER OF THE MAID, Jane Anderson’s effective, sturdy new play

Last night at the Public Theater, I caught Jane Anderson’s highly anticipated new play Mother of the Maid, headlined by legendary stage and screen icon Glenn Close. Ms. Anderson’s play tells the familiar … Continue Reading →

THE HANGOVER REPORT – Ngozi Anyanwu’s GOOD GRIEF explores the depths of young loss, richly and soulfully

This past weekend, I caught Ngozi Anyanwu’s rich, soulful new play Good Grief at the Vineyard Theatre. The play recounts a potent, budding romance between two childhood friends, Nkechi and MJ. When … Continue Reading →

VIEWPOINTS – WAITING FOR GODOT & THOM PAIN (BASED ON NOTHING): Kindred spirits Beckett and Eno reflect an anxiety-ridden world

This weekend, it was fascinating to be able to take in Samuel Beckett’s seminal Waiting for Godot in back-to-back viewings with Will Eno’s Thom Pain (based on nothing) – both in superb productions. That’s because … Continue Reading →