‘Starlight Express’ Review: The Gravy Train Rolls On
Nostalgia will undoubtedly lure many to a London revival of the Andrew Lloyd Webber musical. It has more in common with a theme park than with theater, our critic writes.
By Houman Barekat
Nostalgia will undoubtedly lure many to a London revival of the Andrew Lloyd Webber musical. It has more in common with a theme park than with theater, our critic writes.
By Houman Barekat
Is moral leadership possible without parliamentary power? Two very familiar congresswomen battle it out onstage.
By Jesse Green
Elevator Repair Service’s staged reading of the huge James Joyce novel retains much of its humor, pathos and bawdiness.
By Jesse Green
A family gathering fuels Crystal Finn’s new play, in which an excellent cast teases out the many complications of inheritance.
By Elisabeth Vincentelli
Resetting the “Memory” musical in the world of ballroom competitions makes for a joyful reincarnation.
By Jesse Green
Marin Ireland’s play opens with Tatiana Maslany in a rotating cast of stars, and “What Became of Us” continues its own experiment with changing casts.
By Laura Collins-Hughes
A play from Denmark, with a South African cast, turns the heroic tropes of horse operas into the tools of tragedy at St. Ann’s Warehouse in Brooklyn.
By Jesse Green
A somber yet witty play set in 18th-century England is a clever perversion of a courtroom drama that features strong performances from an ensemble cast.
By Maya Phillips
Her frenetic new dance-theater work, which opens a new festival at the new park on the Hudson, includes references to Camus and music by T Bone Burnett.
By Naveen Kumar
Maury Yeston’s score, stupendously played and sung, is the star of the final production of an excellent Encores! season at New York City Center.
By Jesse Green
Samm-Art Williams’s 1979 play about the uprooting of a Black farmer returns to Broadway for the first time.
By Jesse Green
Shayan Lotfi’s topical play about a family building a new life in a new country leaves the details vague, deliberately.
By Laura Collins-Hughes
Maggie Siff plays a war journalist facing the most dangerous assignment of her life: domesticity.
By Jesse Green
The Irish Rep ends its season-long Brian Friel survey with the story of a blind woman who undergoes an operation to try to restore her sight.
By Naveen Kumar
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How do you bring an almost plotless book of elliptical fragments to the stage? The director Katie Mitchell has tried with three actors, four screens and three bottles of whiskey.
By Houman Barekat
Raja Feather Kelly makes his playwriting debut with a spellbinding story of three generations of Black men at Soho Rep.
By Brittani Samuel
In José Rivera’s latest play, a Puerto Rican family moves to Long Island in 1960, contending both with Hurricane Donna and their neighbors’ hostility.
By Juan A. Ramírez
A production at the Shakespeare’s Globe theater faced criticism because a nondisabled actor plays the scheming king. But disputes like these miss the point, our critic writes.
By Houman Barekat
T. Adamson’s new comedy, which opens Clubbed Thumb’s popular Summerworks series at the Wild Project, is about a group of worked-up Franciscan friars.
By Elisabeth Vincentelli
A hit at Edinburgh Fringe last year, Julia Masli’s show arrives at SoHo Playhouse for its New York debut.
By Elisabeth Vincentelli
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