THE HANGOVER REPORT – The dated A LOVELY SUNDAY FOR CREVE COEUR is lesser, perhaps unsalvageable, Tennessee Williams

I recently had to a chance to catch a rare revival of Tennessee Williams’ A Lovely Sunday for Creve Coeur Off-Broadway at the Theatre at St. Clement’s, courtesy of La Femme Theatre … Continue Reading →

THE HANGOVER REPORT – ERC’s languorous BECAUSE I COULD NOT STOP uniquely attempts to conjure Emily Dickinson’s inner life, via music

It’s difficult to critique a production like Ensemble for the Romantic Century’s Because I Could Not Stop: An Encounter with Emily Dickinson, which opened Off-Broadway last week at the Pershing Square Signature … Continue Reading →

THE HANGOVER REPORT – Bedlam’s UNCLE ROMEO VANYA JULIET is a stimulating experiment, but only for those in the know

Last night at the Mezzanine Theatre at A.R.T./New York Theatres, I attended a performance of Bedlam’s latest performative dissection of a classic text – or rather, in this case, classic texts. … Continue Reading →

VIEWPOINTS – BERNHARDT/HAMLET & THE NAP: The value proposition of the non-for-profit model on Broadway

I say thank God for the presence of non-for-profit theater companies on Broadway. Without the commercial glare typically associated with Broadway, these institutions are able to take risks, particularly as it relates to … Continue Reading →

THE HANGOVER REPORT – Mazzoli and Vavrek’s compact, bleak PROVING UP investigates the American Dream, disturbingly and profoundly

One of the most dramatically and musically potent new operas I’ve come across in recent years was Missy Mazzoli and Royce Vavrek’s Breaking the Waves (which I encountered at last year’s Prototype Festival), … Continue Reading →

THE HANGOVER REPORT – Stefano Massini’s straight-shooting INTRACTABLE WOMAN is brought to theatrical life in a striking, elegant staging

Last night, I attended a performance of PlayCo’s production of Stefano Massini’s docudrama (translated by Paula Wing) Intractable Woman: A Theatrical Memo of Anna Politkovskaya at 122 Community Center’s Second Floor Theater. … Continue Reading →

THE HANGOVER REPORT – Shane O’Regan, another shape-shifting actor, deeply impresses in the stage adaptation of Michael Morpurgo’s PRIVATE PEACEFUL

I had recently written a piece covering and reviewing a trio of compelling (to varying degrees) solo shows currently playing in the New York. Let’s add to that list playwright/director … Continue Reading →

THE HANGOVER REPORT – Craig Lucas’s messy, shattering I WAS MOST ALIVE WITH YOU nakedly acknowledges the bravery of living

Last night, Craig Lucas’s latest play I Was Most Alive With You opened Off-Broadway at Playwrights Horizons. Mr. Lucas’s most famous works – which include the 1988 play Prelude to a Kiss … Continue Reading →

VIEWPOINTS – Exploring the black dilemma: A pair of brashly stylized (if flawed) new plays by Jonathan Payne and Geraldine Inoa explode with anger

Currently in New York, there are a pair of new plays running that explore the black dilemma in this country – Jonathan Payne’s The Revolving Cycles Truly and Steadily Roll’d and Geraldine Inoa’s Scraps. … Continue Reading →

THE HANGOVER REPORT – Sharr White’s THE TRUE, led by a masterful Edie Falco, is scintillating theater

This weekend, I caught Sharr White’s scintillating new play The True, courtesy of The New Group at the Pershing Square Signature Center. In my mind, the play happily marks Mr. White’s return … Continue Reading →