There are about 1,000 reasons to see director Chen Shi-Zheng’s gaudy, goofy flagship popera opening this year’s Lincoln Center Festival.
Plus Tarell Alvin McCraney's Choir Boy.
The Stage Dive Weekend Roundup: The Two Character Play and The Unavoidable Disappearance of Tom Durnin
Amanda Plummer makes existing look so hard in the Tennessee Williams revival.
Carla Gugino as a Manhattan helicopter mom. Yes, please.
What's today's dollar-ducat exchange rate?
"The repression just doesn't press."
"It’s exhausting. Which is not to say it’s unworthwhile."
"When The Master Builder becomes an episode of Gilly, you know something’s wrong."
A musical based on a section of War and Peace.
It's a weak production, too. And yet …
"Nelson’s opening gambit — an appetizer of red herring — pays off spectacularly."
"It’s just cruel for the easy fun of it."
They added a circus!
"Do we really care how hard it is to make a living as a Sherpa on the slopes of power?"
Conceived without sin (but with tragedy).
It's cut to barely 100 minutes.
It ... may hit you like a punch to the heart.
A hard play to defend.
Douglas Carter Beane has written Nathan Lane his best new role in years.
The worst jukebox (with the best tunes) I’ve ever encountered.
Somehow, a goodly dose of Roald Dahl’s puckish sourness makes it onstage.
It’s never boring; it’s never shocking; you are likely to leave entirely entertained and satisfied.
Too hilarious, and oddly loving, to shut down.
"The structure enforces a cruel balance of joy and despair; someone is always high, someone hurting ... "
"Ephron was damned lucky; few writers write their best work last and manage to go out with a bang."