All stories by Ben Brantley on BroadwayStars

Monday, November 19, 2018

Critic’s Pick: Review: Rage and Ritual in ‘What to Send Up When It Goes Down’ by Ben Brantley

Aleshea Harris’s remarkable new play brims with an expressly theatrical eloquence and anger.

SOURCE: The New York Times Subscription at 10:18PM
Wednesday, November 14, 2018

Review: Reaching Across Korean Borders in ‘Wild Goose Dreams’ by Ben Brantley

Hansol Jung’s industriously imaginative play uses visions of winged flight to explore the loneliness of two ambivalent lovers in Seoul.

SOURCE: The New York Times Subscription at 10:48PM

Review: Raúl Esparza Becomes a Very Familiar Fascist in ‘Arturo Ui’ by Ben Brantley

John Doyle’s inventive revival of Brecht’s 1941 satire about Adolf Hitler is more impressive for theatrical ingenuity than topicality.

SOURCE: The New York Times Subscription at 10:48PM
Sunday, November 11, 2018

Critic’s Pick: Review: Mike Birbiglia Is a Very Nervous Dad in ‘The New One’ by Ben Brantley

This one-man show, about the anxieties of impending fatherhood, makes a seductive case for seeing a comedian live in the age of Netflix.

SOURCE: The New York Times Subscription at 10:48PM

Review: Michael C. Hall Probes the Despair of ‘Thom Pain’ by Ben Brantley

In Oliver Butler’s revival, Will Eno’s reputation-making monologue of masochistic bleakness suddenly feels a lot less shocking.

SOURCE: The New York Times Subscription at 10:48PM

Jay O. Sanders on How an ‘Oak Tree’ Became Uncle Vanya by Ben Brantley

Mr. Sanders, a veteran of four decades of stage and screen work, is giving the performance of his career in his first appearance in Chekhov.

SOURCE: The New York Times Subscription at 05:06PM
Thursday, November 8, 2018

Review: ‘King Kong’ Is the Mess That Roared by Jesse Green and Ben Brantley

The one-ton, 20-foot marionette is impressive, but the $35 million musical he stars in doesn’t even succeed as camp.

SOURCE: The New York Times Subscription at 10:48PM
Wednesday, November 7, 2018

Review: In ‘Eve’s Song,’ the Ghosts Are Not the Scariest Part by Ben Brantley

Patricia Ione Lloyd’s macabre domestic comedy suggests that for African-Americans, every day is a potential horror movie in the making.

SOURCE: The New York Times Subscription at 10:18PM
Sunday, November 4, 2018

Review: A ‘Waiting for Godot’ as Comically Futile as a Looney Tune by Ben Brantley

Garry Hines’s very funny interpretation of Samuel Beckett’s best-known work finds the kinetic cartoon humor in existential futility.

SOURCE: The New York Times Subscription at 10:24PM
Thursday, November 1, 2018

Critic’s Pick: Review: Lessons in Love From a Drama Queen in ‘Torch Song’ by Ben Brantley

In this brisk and entertaining revival of Harvey Fierstein’s Tony-winning play, Michael Urie and Mercedes Ruehl are mesmerizingly larger than life.

SOURCE: The New York Times Subscription at 10:48PM
Tuesday, October 30, 2018

Critic’s Pick: Review: Remembering What Was and Wasn’t in ‘Good Grief’ by Ben Brantley

Ngozi Anyanwu’s tender new play, directed by Awoye Timpo at the Vineyard Theater, considers the nature of memory in the aftermath of a tragedy.

SOURCE: The New York Times Subscription at 10:05PM
Thursday, October 25, 2018

Critic’s Pick: Review: Elaine May Might Break Your Heart in ‘Waverly Gallery’ by Ben Brantley

This impeccably acted revival presents Kenneth Lonergan’s poignant comic drama about dementia as a memory play in more ways than one.

SOURCE: The New York Times Subscription at 10:18PM
Tuesday, October 23, 2018

Review: A Voyage of Teachable Moments in ‘India Pale Ale’ by Ben Brantley

Jaclyn Backhaus’s cheerfully instructive play follows a young Punjabi-American woman, a descendant of a notorious pirate, who opens a bar in Wisconsin.

SOURCE: The New York Times Subscription at 10:18PM
Sunday, October 21, 2018

Critic’s Pick: Review: A Thrilling ‘Ferryman’ Serves Up a Glorious Harvest Feast by Ben Brantley

Jez Butterworth’s great, sprawling drama of rural Northern Ireland during the Troubles bares a culture’s contradictions through riveting storytelling.

SOURCE: The New York Times Subscription at 10:06PM
Wednesday, October 17, 2018

Review: Glenn Close Raises a Saint in ‘Mother of the Maid’ by Ben Brantley

In Jane Anderson’s satisfyingly old-fashioned play about Joan of Arc’s mom, Ms. Close shows the stuff of which great stage stars are made.

SOURCE: The New York Times Subscription at 10:48PM
Tuesday, October 16, 2018

Review: Stockard Channing Is a Mother to Remember in ‘Apologia’ by Ben Brantley

Portraying a celebrated art historian with two resentful sons, Ms. Channing finds the anguished heart in a didactic comic drama.

SOURCE: The New York Times Subscription at 10:18PM

Review: Remembering the Way It Was (Not) in ‘The Things That Were There’ by Ben Brantley

David Greenspan’s tone poem of a play, at the Bushwick Starr, considers time, death, family and the ways in which we recall our dead.

SOURCE: The New York Times Subscription at 02:18PM

Review: A Put-Upon Nanny Erupts in Todd Solondz’s ‘Emma and Max’ by Ben Brantley

This strident satire from the filmmaker behind “Happiness” and “Wiener-Dog” is perfectly staged — and all too obvious.

SOURCE: The New York Times Subscription at 02:18PM
Tuesday, October 9, 2018

Review: The Ages of A.R. Gurney in the Wistful ‘Final Follies’ by Ben Brantley

This bill of short comedies, early and late, allows fans of Gurney to chart the evolution of theater’s foremost chronicler of a waning caste.

SOURCE: The New York Times Subscription at 09:48AM
Sunday, October 7, 2018

Review: There’s a Dark, Golden Haze in This Reclaimed ‘Oklahoma!’ by Jesse Green and Ben Brantley

A stripped-down, communal version of the 1943 musical reveals a great complex work of theater, with chili and cornbread included.

SOURCE: The New York Times Subscription at 07:54PM
Wednesday, October 3, 2018

Review: Wrestling With a Master in ‘On Beckett’ by Ben Brantley

Bill Irwin blurs the lines between clown and dramatic actor in an insightful anatomy of the works of Samuel Beckett.

SOURCE: The New York Times Subscription at 10:42PM

Review: A Captive Emily Dickinson in ‘Because I Could Not Stop’ by Ben Brantley

In this multimedia performance piece, Angelica Page delivers a portrait of a poet for whom being “nobody” was anything but a pleasure.

SOURCE: The New York Times Subscription at 12:48PM
Monday, October 1, 2018

Review: ‘Girl From the North Country’ Sets the Darkness Aglow by Ben Brantley

Conor McPherson’s bleak tale of a Minnesota boardinghouse in the Great Depression finds a luminous transcendence in the Dylan song book.

SOURCE: The New York Times Subscription at 10:18PM

Review: She’s Still Debating ‘What the Constitution Means to Me’ by Ben Brantley

In the baggy, emotionally fraught play, Heidi Schreck considers her ever-changing relationship with a seminal document.

SOURCE: The New York Times Subscription at 01:48PM
Thursday, September 27, 2018

Review: Great Pretenders Pocket Laughs in ‘The Nap’ by Ben Brantley

Richard Bean’s comedy about a wayward attempt to fix a snooker match tickles its audiences into contentment.

SOURCE: The New York Times Subscription at 10:18PM
Wednesday, September 26, 2018

Review: Clashing Lives in Tennessee Williams’s ‘Creve Coeur’ by Ben Brantley

This congested revival, directed by Austin Pendleton, features a mismatched cast of four and some classic Williams dialogue.

SOURCE: The New York Times Subscription at 10:36AM
Sunday, September 23, 2018

Review: A Slain Journalist’s Voice Resounds in ‘Intractable Woman’ by Ben Brantley

Stefano Massini’s poetically cadenced portrait of the life and death of the Russian journalist Anna Politkovskaya lets facts speak for themselves.

SOURCE: The New York Times Subscription at 10:48PM

Review: An Autumnal Patti Smith Remembers Summer in ‘Words and Music’ by Ben Brantley

In a piece she describes as “sort of a play,” the poet and singer journeys through her past, with a little help from her children.

SOURCE: The New York Times Subscription at 01:48PM
Monday, September 17, 2018

Review: A One-Man Funeral With Many Lives in ‘I Hear You and Rejoice’ by Ben Brantley

Mikel Murfi’s virtuoso performance about the life and death of a redoubtable woman is a many-tongued wonder of Irish storytelling.

SOURCE: The New York Times Subscription at 07:24PM
Sunday, September 16, 2018

Review: Listening to ‘Uncle Vanya’ With Virgin Ears by Ben Brantley

Richard Nelson’s emotionally transparent interpretation of a Chekhov masterwork, starring a brilliant Jay O. Sanders, makes us hear a classic anew.

SOURCE: The New York Times Subscription at 11:18PM
Friday, September 14, 2018

Critic’s Notebook: A Chorus Remembers Michael Brown in ‘Antigone in Ferguson’ by Ben Brantley

This combination of a classical tragedy and a contemporary discussion group finds a mirror for Ferguson, Mo., in ancient Thebes.

SOURCE: The New York Times Subscription at 04:48PM

All that Chat

2024-2025 BROADWAY SEASON
Jun 05, 2024: Home - Todd Haimes Theatre
Jul 11, 2024: Oh, Mary! - Lyceum Theatre
Jul 30, 2024: Job - Hayes Theater
Sep 12, 2024: The Roommate - Booth Theatre
Nov 14, 2024: Tammy Faye - Palace Theatre
Dec 12, 2024: Cult of Love - Hayes Theater
Dec 19, 2024: Gypsy - Majestic Theatre
Mar 17, 2025: Purpose - Hayes Theater
Apr 01, 2025: Glengarry Glen Ross
Apr 10, 2025: Smash - Imperial Theatre
TBA: Titanic