Immersive theater has no real style—except to fetishize its look.
Fela! is an ambitious but flawed musical about the Nigerian Afrobeat and anti-establishment icon Fela Anikulapo Kuti.
What legacy did Harold Pinter leave behind?
As David Mamet's views become more Manichaean, he's squared the jaws of his tough guys.
With his new play Kicking a Dead Horse, Sam Shepard is still stranded in a prairie of tough-guy cliché.
Spring Awakening is a highly politicized play that explores the sexuality of young teenagers and the adult heartache that can accompany it.
Unlike news reports, theater isn't expected to stick to the facts. By nature, the form is duplicitous, built on a sandy foundation of make-believe and pretense.
Solo theatrical performances are like ads. Everyone claims to hate them but nevertheless finds the good ones irresistible. A good ad acts like a tonic, making a new idea easy to swallow.
Tony Kushner's latest play, Caroline, or Change, left me contemplating its curious title, which suggests an indecisive playwright. Why not just Caroline, or simply Change?
"In society the homosexual's life must be discreetly concealed. As
material for drama, that life must be even more intensely concealed.