All in Review

REVIEW: The indignity of “Hillary and Clinton”

Lucas Hnath’s “Hillary and Clinton” is a depressing form of inept and backhanded fan fiction, the very existence of which is irredeemably sexist.  Putting the marriage and choices of one of the most accomplished and celebrated women in American history on stage for yet more public scrutiny is an indignity no male politician would ever face.  Great performances aside, this inaccurate and intrusive play’s existence on Broadway feels irresponsible as a matter of civic integrity.

REVIEW: “Tootsie” is both fun and fraught

“Tootsie” is a mixed bag.  A well-constructed, cheerful, and funny musical comedy with a suite of magnetic performances, it has a confused tone, disconnected visual and aural sensibility, and next to nothing smart to say about gender despite gender playing such a central role in the plot.  It exists in no consistent reality, and leaves many circles left un-squared.

REVIEW: Get ready, “Ain’t Too Proud: The Life and Times of The Temptations” is out of sight

“Ain’t Too Proud: The Life and Times of The Temptations” is a seamless, slick, and exuberantly entertaining new musical that reclaims the “jukebox” genre with an energetic, fast-moving, and engrossing portrait-like study of The Temptations.  This show looks good, sounds good, and feels good, and is easily one of the best catalogue musicals ever to grace The Great White Way.

REVIEW: “Hadestown”—an exquisitely crafted musical triumph

Breathtaking and exquisitely crafted, “Hadestown” is easily the most tautly constructed and beautifully realized musical on this side of “Hamilton”—a riveting, heart-wrenching, and sumptuous folk opera that vibrantly renders some of mankind’s oldest and most enduring myths as an epic and compelling piece of modern musical theatre.  This musical triumph is a must-see.

REVIEW: An athletic and thrilling “Julius Caesar” at Theatre for a New Audience in Brooklyn

Theatre for a New Audience in Brooklyn presents a new nondescript production of Shakespeare’s “The Tragedy of Julius Caesar” featuring an athletic use of choreographed movement to summon the emotional charge created by crowd and battle scenes, elevating and sustaining the intensity of the political drama.  “Julius Caesar” is hard to get right; TFANA pulls it off with this well-acted, smartly staged, deeply engaging, and flat-out thrilling production.

REVIEW: Reinterpreted for today, “Oklahoma!” on Broadway is a must-see

Fresh from an acclaimed Off-Broadway run, director Daniel Fish’s reinterpretation of Rodgers and Hammerstein’s groundbreaking 1943 musical “Oklahoma!” completely deconstructs this canonical and totemic masterpiece of American musical theatre by stripping it of its corn and highlighting the darker themes of violence and injustice that have always been simmering underneath.  Sexually charged and presented with a striking naturalism, this bold new production is a revelation and a must-see.

REVIEW: The sublimely surreal satire of “Do You Feel Anger?”

Mara Nelson-Greenberg’s new play “Do You Feel Anger?” at the Vineyard Theatre is a razor-sharp, whip-smart satire of contemporary workplace culture that is the blissful antithesis of complacent theatre-making, this play serves up a highly digestible, surrealist critique of mores around empathy consciousness, sexual harassment, hyper-masculinity, and female agency that is equal parts hilarious and horrifying.