All stories by Maya Phillips on BroadwayStars

Sunday, February 26, 2023

Review: ‘black odyssey’ Sails Through Black Past and Present by Maya Phillips

This wine-dark sea threads through Harlem, and its Ulysses, buffeted by the gods, is a soldier fighting in Afghanistan who makes a fatal mistake.

SOURCE: The New York Times Subscription at 06:00PM
Thursday, February 23, 2023

They Invited Shakespeare to the Cookout. They Got ‘Fat Ham.’ by Maya Phillips

The playwright James Ijames and the director Saheem Ali built a “Hamlet”-inspired play, opening in April on Broadway, around their artistic friendship.

SOURCE: The New York Times Subscription at 05:00AM
Monday, February 20, 2023

Review: In Eulalie Spence’s Harlem, the 1920s Come to Life by Maya Phillips

“She’s Got Harlem on Her Mind,” three of Spence’s one-acts, packaged together at the Metropolitan Playhouse, are filled with gender and class politics.

SOURCE: The New York Times Subscription at 12:42AM
Friday, January 27, 2023

‘The Smuggler’ Review: A Barman’s Rambling Yarn by Maya Phillips

The one-man show means to draw the audience into a moral quandary pitting immigrants and the American poor against each other.

SOURCE: The New York Times Subscription at 02:27PM
Saturday, January 14, 2023

When Black Characters Double-Deal to Make Ends Meet, It’s Never Enough by Maya Phillips

In three Broadway plays this season, a quest for financial stability can’t undo the trauma of the past or dismantle the architecture that places a ceiling on Black futures.

SOURCE: The New York Times Subscription at 05:00AM
Friday, December 16, 2022

‘Des Moines’ Review: Drowning in the Drink by Maya Phillips

A new production of Denis Johnson’s final play showcases many of his signatures: deadpan absurdism, misfit characters, heavy drinking and statements on the bleak fact of human mortality.

SOURCE: The New York Times Subscription at 09:12PM
Tuesday, December 6, 2022

‘Your Own Personal Exegesis’ Review: Blessed Be the Young and Lustful by Maya Phillips

Julia May Jonas’s play-as-Mass for LCT3 is imaginative, but falters as it nears the finish line.

SOURCE: The New York Times Subscription at 09:36PM

10 Stages and Screens Where I Saw Connection by Maya Phillips

For our critic-at-large, “Fat Ham,” “Severance,” “A Strange Loop” and “Sandman” were some of the places she found truth and transcendence.

SOURCE: The New York Times Subscription at 05:42AM
Sunday, December 4, 2022

Review: ‘Becky Nurse of Salem’ Brings the Witches but Forgets the Magic by Maya Phillips

Deirdre O’Connell shines as a modern-day descendant of an accused witch in Sarah Ruhl’s unfocused new play at Lincoln Center.

SOURCE: The New York Times Subscription at 08:18PM
Tuesday, November 22, 2022

‘The Patient Gloria’ Review: A Theatrical Remedy for Toxic Therapy by Maya Phillips

Gina Moxley’s punchy, punk-rock play counters a woman’s betrayal by her therapists, exposing the sexism in her treatment.

SOURCE: The New York Times Subscription at 03:18PM
Tuesday, November 8, 2022

‘A Delicate Balance’ Review: Tipping the Scales by Maya Phillips

This Off Broadway production of Edward Albee’s drama is the first to feature a full cast of Asian American actors.

SOURCE: The New York Times Subscription at 03:18PM
Friday, October 28, 2022

‘Hamlet’ Review: A Dirt-Eating Danish Prince, Born to Be Wild by Maya Phillips

Thomas Ostermeier’s production of “Hamlet,” presented as part of the Brooklyn Academy of Music’s Next Wave festival, unleashes more madness than what Shakespeare has already offered.

SOURCE: The New York Times Subscription at 07:03PM
Thursday, October 13, 2022

‘The Piano Lesson’ Review: August Wilson’s Phantom Notes by Maya Phillips

John David Washington, Danielle Brooks and Samuel L. Jackson star in the first Broadway revival of Wilson’s haunting family drama set in 1936.

SOURCE: The New York Times Subscription at 08:37PM
Wednesday, October 5, 2022

‘I’m Revolting’ Review: All About the Skin They Live In by Maya Phillips

Gracie Gardner’s play about illness, the body and our health care system is just as impersonal as the waiting room where her story is centered.

SOURCE: The New York Times Subscription at 09:37PM
Monday, October 3, 2022

‘Cost of Living’ Review: Worth Its Weight in Gold by Maya Phillips

Subtle connections bridge the worlds of two caregivers in Martyna Majok’s 2018 Pulitzer Prize-winning play, making its Broadway debut.

SOURCE: The New York Times Subscription at 09:19PM

‘Mud/Drowning’ Review: 3 Fools, 3 Kooks, 2 Bizarre Plays by Maya Phillips

A new production of two of María Irene Fornés’s short plays, “Mud” and “Drowning,” tries to accentuate the weirdness of the playwright’s worlds but too often overreaches.

SOURCE: The New York Times Subscription at 02:43PM
Friday, September 30, 2022

‘American (Tele)visions’ Review: Tune In, and Buckle Up, for Family Drama by Maya Phillips

In Victor I. Cazares’s play, Walmart is a haven for a family of undocumented Mexican immigrants, but it comes with a cost.

SOURCE: The New York Times Subscription at 11:33AM
Wednesday, September 21, 2022

The Theater at War by Maya Phillips

In shows like “The Burnt City,” the chaos of war meets the curated artifice of performance, our critic writes. But “Oresteia” took a different view, and the audience was better for i…

SOURCE: The New York Times Subscription at 10:13AM
Wednesday, September 14, 2022

God Loves a Show: Religious Satires Reveal the Art of Acting Faithful by Maya Phillips

In films like “Honk for Jesus. Save Your Soul” and shows like “The Righteous Gemstones,” pageantry is the top priority.

SOURCE: The New York Times Subscription at 02:55PM
Friday, September 2, 2022

Black Film and TV Actors Get a Chance to Shine on Broadway by Maya Phillips

On Broadway this fall, it’s less about new playwrights making their debuts and more about established stars giving the stage a shot.

SOURCE: The New York Times Subscription at 12:19PM
Friday, August 19, 2022

In Two London Plays, Being Black Means Looking From the Outside In by Maya Phillips

Black characters in “Mad House” and “The Southbury Child” endure microaggressions and aspersions. The familiar scenarios hit home for our critic.

SOURCE: The New York Times Subscription at 11:33AM
Sunday, July 24, 2022

‘Seagull’ Review: Blurring the Lines of Fiction by Maya Phillips

Elevator Repair Service’s Chekhov revival has promising ideas about art, experimentation and truth, but the production inevitably falls flat, our critic writes.

SOURCE: The New York Times Subscription at 01:07PM
Thursday, July 21, 2022

Review: ‘The Kite Runner’ Trips From Page to Stage by Maya Phillips

Amir Arison stars as a guilt-ridden Afghan refugee brooding over a childhood friendship in a stiff adaptation of Khaled Hosseini’s best-selling novel.

SOURCE: The New York Times Subscription at 09:37PM
Friday, July 15, 2022

Review: In ‘Sex, Grift and Death,’ One-Acts That Test Perceptions by Maya Phillips

PTP/NYC, celebrating its 35th repertory season, returns to New York with short works by Steven Berkoff and Caryl Churchill.

SOURCE: The New York Times Subscription at 03:33PM
Thursday, June 30, 2022

Review: In a Powerful ‘Hamlet,’ a Fragile Prince Faces His Foes by Maya Phillips

Alex Lawther makes for an especially riveting hero in Robert Icke’s chic if imperfect modern-dress production at the Park Avenue Armory.

SOURCE: The New York Times Subscription at 04:18PM
Thursday, June 23, 2022

‘Epiphany’ Review: A Holiday Party, but What Are We Celebrating? by Maya Phillips

In this heady Lincoln Center Theater production, Brian Watkins finds laughs and shivers in a pensive gathering of old friends.

SOURCE: The New York Times Subscription at 09:24PM
Wednesday, June 22, 2022

Onstage, Paradise for Black Characters Often Comes With a Price by Maya Phillips

A tricky challenge for Black playwrights: offering deliverance, even hope, while staying truthful about real-life tragedy.

SOURCE: The New York Times Subscription at 10:33AM
Thursday, May 26, 2022

‘Fat Ham’ Review: Dismantling Shakespeare to Liberate a Gay Black ‘Hamlet’ by Maya Phillips

James Ijames’s Pulitzer Prize-winning play, set at a Southern barbecue, gets its first in-person production at the Public Theater.

SOURCE: The New York Times Subscription at 10:12PM
Wednesday, May 25, 2022

‘Mother Courage’ Review: Selling Her Wares Amid the Havoc of War by Maya Phillips

Irondale Ensemble’s adaptation of Brecht’s antiwar epic captures some of its spirit but lacks any real philosophical or political heft.

SOURCE: The New York Times Subscription at 05:42PM
Wednesday, May 18, 2022

Against All Odds, Broadway Rose to the Occasion. Mostly. by Jesse Green and Maya Phillips

Decoding the Tony nominations, our critics review a season of bold productions that met audiences often craving the familiar.

SOURCE: The New York Times Subscription at 10:18AM
Tuesday, May 3, 2022

‘Wish You Were Here’ Review: The Saga of Female Friendship by Maya Phillips

Sanaz Toossi’s new play follows a group of five women in Iran as they and their friendships change against the backdrop of marriages and revolution.

SOURCE: The New York Times Subscription at 09:03PM

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