Cameron Kelsall reviews Keen Company’s revival of Steven Dietz’s response to the HIV/AIDS epidemic.
Molly Grogan reviews Schaubühne Berlin’s production in NYC.
Loren Noveck discovers a previously overlooked reading of As You Like It.
Molly Grogan reviews Elevator Repair Service’s cool turn at Shakespeare.
Alison Walls reviews a part performance, part conversation between a Turkish journalist and her mother about being a Muslim woman in Europe.
Jordan G. Teicher reviews Simon Stephens’ play about three generations of a dysfunctional family.
Richard Patterson reviews Dickie Beau’s challenging drag tribute to Monroe and Garland.
Dan O’Neil steps into an escape room as part of an immersive theater project.
Lane Williamson finds a lifeless production in director John Doyle’s hands, starring Ellen Burstyn.
Annie Dorsen wants to dissuade you from taking a social media break. Molly Grogan reviews.
Cameron Kelsall calls bullshit at the hell Max Posner reserves for an over-burdened son.
Loren Noveck finds unexpected emotion in Monica Bill Barnes’ newest dance-theater work.
Juliet Hindell reviews Amy Herzog’s new play about navigating the US health care system. Side effects may occur.
Loren Noveck immerses herself in a full-on simulation of a K-pop “factory” and comes out humming.
Molly Grogan reviews the US premiere of Amir Nizar Zuabi’s 2014 play about the Syrian conflict and humanitarian crisis.