The vocal standards are high, and the pleasure of discovering new talent always exhilarating.
Mack, who opened the season creating a new role, is now back in an iconic one.
John Guare’s monumental Lydie Breeze trilogy ends movingly, if not entirely clearly.
A rare opportunity to see Tell Me on a Sunday reveals a good idea, flawed in the execution.
Quintessence’s production is problematic, but at least the problems are interesting.
Despite ingenious moments, the gimmick of Beth Wohl’s play wears out before it’s over.
Part II of the Lydie Breeze Trilogy is linear, concise, and better than Part I.
The Arden’s Toni Morrison adaptation is too much handsome staging, too little Morrison.
Without its companion pieced, Trouble in Tahiti, this difficult late work feels like half of an opera.
The audience loved this musical Shakespeare send-up. So did I—sometimes.
A terrific evening of music and theater, and a thrilling affirmation of a magnificent work.
Keith Huff’s episodic play has powerful moments, but too much narration.