Lucas Hnath's indictment of Disney is both clever and total. The post Melodrama for the Anti-Capitalist Crowd: <em>A Public Reading of an Unproduced Screenplay About the Death of Walt …
Lincoln Center Festival's "DruidMurphy," a collection of three plays by Irish literary legend Tom Murphy, directed by Garry Hynes, marks his American debut.
Despite a wealth of downtown talent, “The Etiquette of Death” is a disorganized and lackluster attempt to find joy and artfulness in the experience of dying.
"Space//Space," the latest mind-bender from Banana Bag & Bodice, at the Collapsable Hole, sends gender politics over the moon.
"Symphony of Shadows," the newest work from Rachel Klein's macabre imagination, at Dixon Place, is sumptuously presented and precisely executed but thin.
"Cowboy Mouth," Sam Shepard and Patti Smith's 1971 rock-'n'-roll breakup drama, gets a smartly directed and meticulously designed site-specific production.
Scott Wittman's bio-musical of Andy Warhol star Jackie Curtis, starring Mx. Justin Vivian Bond at La MaMa, errs by sanitizing Curtis' provocative style.
Bedlam’s minimalist “Saint Joan,” at Access Theater, performed by a brilliant four-person cast, mines new life from Shaw’s underproduced classic.
Polish theater company TR Warszawa’s adaptation of the Danish film “Festen,” at St. Ann’s Warehouse, is too cold and calculating, blunting its impact.
At La MaMa, Poor Baby Bree, a comic waif with a nose for Tin Pan Alley's dustbin, makes vaudeville strange, bizarre, and captivating all over again.
Dixon Place's "Lunatic Cunning," by the multitalented James Godwin, is for adults who want to regain puppetry's illusionary wonder without being patronized.
In "All Hands" at Incubator Arts Project, Hoi Polloi's first-rate ensemble explores the notion of community in a smart and refreshingly theatrical evening.
La MaMa’s revival of the Talking Band’s 1983 “Hot Lunch Apostles” still has resonance yet feels like a nostalgic gasp from the past.
Company East's "Buddha" at La MaMa is crippled by the shapelessness of creator Kenji Kawarasaki's images, resulting in an evening neither affecting nor fun.
Mark Snyder's emotionally overwrought "As Wide as I Can See," produced by At Hand Theatre Company at Here Arts Center, is overstuffed and immature.
New York City Players' Richard Maxwell's take on Eugene O'Neill, in collaboration with the Wooster Group at St. Ann's Warehouse, lacks a beating heart.
Just the right measure of quirk and psychodrama, buoyed by a smart and sharp production, makes Erin Courtney's new play the best 13P offering in years.
This revival of SITI Company's piece about Robert Wilson is tiramisu for avant-gardists, a communion between the celebrated director and Will Bond, one of the smartest, most disciplined ac…
Temporary Distortion's new film-theater piece about the private life of cops is strongest when it lets its stories speak for themselves and weakest when it dips into sentimentality.
Young Jean Lee gives New York audiences the feminism they deserve: conflicted, unprocessed, at times ironic, at times sincere, always provocative. Feminism, she reminds us, is never a simp…
This haunting collaboration between Croatian performance artists and former members of Goat Island is a first-rate love song to what we can't touch—in each other, in our art, and in …
Though drag royal Lady Bunny's sense of humor is as sharp and as vicious as ever, her one-woman show lacks the dynamism and original material to sustain a full evening.
In this new play, a disjointed multimedia ghost story, writer-director Bryan Santiago's ambition exceeds his craft, resulting in a promising but baffling exercise in inarticulate creepines…
The Foundry Theatre's new production feels like an unusual group therapy session that though at times forced and treacly manages to be quite powerful in spite of itself.
Julia Jarcho's new play suffers under her affectless directing style, but a first-rate ensemble brings life to the otherwise chilly proceedings, resulting in an unfulfilling but still occ…