Mariah MacCarthy’s solo reveal. Molly Grogan reviews.
Kev Berry finds pain and commiseration in Yara Travesio’s crowded club performance.
Loren Novek reviews the transfer of Phyllida Lloyd’s The Tempest to St Ann’s Warehouse.
Wakka Wakka’s puppet musical slays American consumerism and Chinese stereotypes. Molly Grogan reviews.
Nicola Gunn moves through a moral conundrum. Dan O’Neil reviews.
Seth Simons reviews a touching, lively tribute to Willy Chevalier.
Belarus Free Theater focuses on the present while looking back at 2010. Molly Grogan reviews.
Philippe Quesne’s Vivarium Studio inflates its park of dreams at Under the Radar. Molly Grogan reviews.
Anisa George asks us where to draw the line between romantic and horrific. Robert Norman reviews.
Joseph Charnitski reviews “actorvist” Keith A. Wallace’s solo reflection on the value of Black lives in America today.
Molly Grogan reviews a jewel in the rough from Nikki Appino and Saori Tsukada.
Molly Grogan reviews 600 Highwaymen’s invitation to be together.
Molly Grogan looks for possibility in endlessly repeating loops.
Manuel Cinema’s slide projection poetry dazzles. Molly Grogan reviews.
Jordan G. Teicher reviews New Yiddish Rep’s revival of this once “obscene” play.