Over the past year, no fewer than 10 shows on both sides of the Atlantic have addressed the historical rise of Nazism and/or the troubling resurfacing of antisemitism.
For all its faults, the form (and its fans) can’t help but stand up and sing for the underdog, for the awakened conscience, for moments of joyful liberation.
Under the Radar, Exponential, and Prototype at last returned in person this year, and the pickings were as unexpected and various as ever.
The writers of ‘Vatican Falls,’ ‘How I Learned to Drive,’ and ‘Downstate’ take varied approaches to depicting pedophiles—and reckoning with what they deserve.
Why is this groundbreaking Broadway musical closing so soon? The tale of its creation, evolution, marketing, and critical reception offers plenty of clues—and some glimmers of hope.
Every April for decades, producers, theatre mavens, and critics would gather to binge new plays at the Festival of New American Plays. But not this April.
A new theatre piece based on a Claudia Rankine essay may be educational for white audiences, but for Black audiences it’s merely relatable.
Sondheim’s work is elusive, ambivalent, internally conflicted, and deeply concerned with how stories are told. What could be more Jewish?
Clocking the missed opportunities, missteps, and outright transphobic tropes in 3 currently running musicals.
Classic Stage Company’s understated new production shows how Sondheim and Weidman’s triggering musical can play in an age of mass shootings and the Capitol insurrection.