163 stories by "Tony Marinelli"
Inspired in part by "he Magic Mountain," Thomas Mann’s 1924 meditation on illness and temporality, Zimet’s play borrows not its plot but its sensibility: the peculiar dilation and contra…
What lingers, long after the final moments—which are, indeed, superb—is not a tidy judgment but a series of disquieting questions. Clements refuses the comfort of easy condemnation, even…
Derek Murphy’s "The Bad Daters" arrives Off Broadway from Ireland and the United Kingdom with the unassuming air of a chamber piece and the stealthy force of something far more piercing: a…
Where past and present commingle—as they so insistently do in a play like "Love Story"—the burden falls squarely on the director to furnish the audience with a legible temporal grammar. …
There are evenings in the theatre when the air seems to tighten, as though the room itself has drawn a breath it cannot quite release. Such is the case with "Kenrex," a work of unnerving com…
Van Zandt is a cyclone that tears through the intimate confines of SoHo Playhouse’s Huron Club, detonating with the force of lived experience refined into art. What might, in lesser hands,…
Di Zou as Pearl and Rebecca De Mornay as Evelyn in a scene from John Patrick Shanley's "The Pushover" at the Chain Theater (Photo credit: Dan Wright Photography) Encountering a John Patrick …
In Luke Murphy's astonishing "Scorched Earth," a vitality is rendered with a ferocity that feels at once ancient and bracingly new. Murphy, working under the banner of his multidisciplinary …
For all its incremental gestures toward inclusivity, "Saturday Night Live""now improbably in its 51st season"has remained curiously bereft of a regular South Asian cast member, a lacuna that…
The narrative architecture of "Vanya""its languors, its longings"is assumed, even beside the point. In its essence, this distilled adaptation unfolds less as a conventional staging than as a…
There is, in "The Last Audition," something almost defiantly modest"a chamber piece of sorrow that refuses the grandiloquence of tragedy even as it circles one. The play, a solo vehicle of h…
Hayes proves wholly persuasive, gliding among a gallery of supporting figures (Hayes delineates 11 distinct characters with astonishing lucidity, his transitions so fluid they seem almost in…
Yet the production proves curiously reluctant to pursue the implications of its own provocations. The philosophers, rather than evolving into distinct and dynamically opposed sensibilities, …
New American Ensemble may be young, but this production announces a company of rare precision and ambition. Every element"the mulch underfoot, the bar at your shoulder, the dead tree overhea…
Anthony Rapp in Kenny Finkle's "Touch" at The East Village Basement (Photo credit: Table 7 Strategies/Kevin Kulp) In Touch, a work of disarming modesty and unnerving emotional precision, a l…
In the hands of Michael John LaChiusa (music, lyrics and book) and George C. Wolfe (book), the feral, syncopated verse of Joseph Moncure March's Prohibition-era poem is not so much adapted a…
In "Entangled:12 Scenes in a Circle K off the I-40 in New Mexico," the beguiling and philosophically mischievous collaboration between Mona Mansour and Emily Zemba, the American desert becom…
What begins as a satirical clash between corporate swagger and academic idealism gradually deepens into a more unsettling inquiry. The play's true subject, it turns out, is not merely the ar…
If the show's point of view occasionally feels one-sided, that imbalance ultimately serves its chief purpose: entertainment. 'Body Count' may not function as a comprehensive treatise on cont…
Slater's performance is a revelation of synthesis. Known for his buoyant athleticism in Broadway's "SpongeBob SquarePants" and his chilling portrayal of the Balladeer and Lee Harvey Oswald i…
Actors Kerry Ipema and Natalie Rich, joined by the live Foley artist Kelly Robinson, proceed to conjure Spielberg's dinosaur epic. They marshal an arsenal of materials so defiantly homespun …
In Lauren Yee's exuberant and stealthily devastating new comedy, "Mother Russia," history arrives not with a bang but with an order of fast food. Two young men, perched at the lip of a new w…
The premise"a radio broadcast"might seem theatrically inert, yet Rau ingeniously implicates the audience by issuing each spectator a set of headphones. We are not merely watching propaganda;…
To enter the performance space of Paul Pinto's "MANO A MANO" is to find oneself seated not before a proscenium, but around a giant Arthurian round table, a scenic choice that immediately dis…
Chang is an agile performer, and his quick shifts among characters recall the early solo work of urban shapeshifters who built entire neighborhoods out of voice and posture. Yet here the gal…
