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Reviews for MACBETH are In…
Macbeth opened on Thursday with a lot of “sound and fury signifying nothing.” Critics lambasted the ill-conceived and dull production, laying the blame heavily at director by Sam Gold’s feet. Even Ruth Negga’s wonderful performance, the star power of Daniel Craig and a talented supporting cast could not overcome the bad directorial decisions to gore-up, confusingly triple cast and blasé-ify what should have been a knock-out production.
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Reviews for POTUS are In…
Lacking polish or subtlety, the hilariously frenetic POTUS stars an exemplary cast of women given the stage to each do what they do best. Critics complain that the production is sometimes a bit too wild and nonsensical; but those looking for R-rated over-the-top fun will laugh their a**es off.
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AWARDS SEASON 2022: Outer Critics Circle Awards Nominations
The 71st Outer Critics Circle Award nominees were announced this morning. The Lehman Trilogy lead the pack, earning nine nominations; followed by The Minutes with six nods, and Skeleton Crew and Take Me Out with five each.
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Reviews for THE SKIN OF OUR TEETH are In…
Thornton Wilder’s wild play The Skin of Our Teeth opened at the Lincoln Center with bigger-than-big scenic elements, a black Antrobus family and updates to the script. Critics love the visuals director Lileana Blain-Cruz brought to the production and hand out high praise to a number of the actors; but ultimately, many were left siding with Sabina (“I hate this play and every word in it”) and wondering if maximalist-amounts of anything could make this work of Wilder’s into a worthwhile revival.
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AWARDS SEASON 2022: Drama League Award Nominations
Co-Hosts Denée Benton & André De Shields announced this year’s nominees this morning, and this list of nominees has us smiling like in pre-pandemic days. View the nominees now!
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Reviews for HANGMEN are In…
Welp, it’s a toss up whether you’ll love or hate HANGMEN; some are calling it “the best new play on Broadway” while others say it “makes almost no sense at all.” It’s macabre and hilarious, and will leave you feeling guilty for any of your laughs. The plot may be a bit thin with some implausible twists, but it is played out by a devilishly talented cast on a phenomenal set and the fight choreography is choice. Love a little gallows humor and willing to suspend your disbelief for an evening? HANGMEN might well be worth the risk.
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Reviews for FOR COLORED GIRLS are In…
A revival of the “choreopoem” for colored girls who have considered suicide/ when the rainbow is enuf opened at the Booth Theater to nearly universal rave reviews. Enlivened by brilliant choreography, creatively remixed sound, colorful projections, and centered around the gripping performances of a phenomenal cast (especially by Okwui Okpokwasili and D. Woods), this piece about Black womanhood delivers a captivating night at the theatre.
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Reviews for HOW I LEARNED TO DRIVE are In…
Paula Vogel’s How I Learned to Drive has finally gotten the Broadway run it deserves 25 years after it first opened Off-Broadway, with the same two leads (Mary-Louise Parker and David Morse), director (Mark Brokaw) and one of its original chorus members (Johanna Day) along for the ride. The performances from Mary-Louise Parker and David Morse left critics absolutely agog and (unlike some other recent revivals) sure that the Pulitzer Prize-winning memory play has stood the test of time — finding it as important, complex and shocking as ever.
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Reviews for THE MINUTES are In…
Tracy Letts’ newest play, The Minutes, opened at Studio 54 on Sunday. The show, framed in the context of a boring town hall meeting, quickly escalates into a horror show questioning white privilege in not-so-subtle ways. The cast and set get universal praise; the show itself a mixed response, with many reviewers unsure what to think in the end about the efficacy of Letts’ message via this form, but none-the-less impressed with the playwright’s use of suspense and surprise in delivering it.
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Reviews for AMERICAN BUFFALO are In…
An energetic new revival of American Buffalo opened on Broadway this week to mostly positive reviews, and looks to be a solid-enough production to withstand the recent cancellation cries due to playwright David Mamet’s recent incendiary remarks. Scott Pask’s set and Dede Ayite’s costumes both set the scene perfectly for standout performances from Sam Rockwell and Laurence Fishburne (Darren Criss’s performance by all accounts sadly leaves something to be desired.) Mamet’s once shocking dialogue style has been adopted by so many shows at this point that it now seems expected, even if the remarks out of some of the characters’ mouths prove no less shocking than those made by the playwright himself on TV the other day.
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