Missing Mason Jars ""Take Me Out," Second Stage
Walking out of the spiffy new production of Richard Greenberg's Take Me Out, my canny friend Tom, who was seeing the play for the first time, offered this quick take: "really interesting, bu…
Walking out of the spiffy new production of Richard Greenberg's Take Me Out, my canny friend Tom, who was seeing the play for the first time, offered this quick take: "really interesting, bu…
Paula Vogel's How I Learned to Drive is, famously, the play that blew the lid off the subject of pedophilia in the theater. At its premiere in 1997 it was startlingly fresh and shocking"not …
"Static" is one of those words from which most artists recoil. It's typically used for something felt to be listless, inert, and boring. In fact, physical stasis is an artistic tool, or at l…
An oddity of this theatrical season to ponder as we bid farewell to 2019:Â In two current New York productions model houses"gorgeous, meticulously constructed, doll-size edifices that spl…
Two years ago, the British director Richard Jones brought a stunning production of Eugene O'Neill's The Hairy Ape to the Park Avenue Armory that set a new bar for theatrical use of that venu…
First of all, don't be put off by the pompous, academic title. Thomas Ostermeier's extraordinary History of Violence, adapted from a much-discussed 2016 novel by the 27-year-old French li…
James Sheldon's Reparations is a new play about racial grievance, guilt, and retribution in America that, oddly enough, is both very smart and completely sincere. What I mean by that is t…
Adam Rapp is a polarizing playwright. After bursting onto the scene in 2001 with Nocturne " a long, moving monologue by a man who accidentally kills his sister and then reinvents himself as …
(This post is part of the 2014 TCG National Conference: Crossing Borders {Art | People} blog salon, curated by Caridad Svich.) Not long ago, malicious hackers and an unrele…