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.
Curtis Russell reviews “a rare miss” from Sarah Ruhl: “safe and sane and totally harmless.”
Harold Prince considers his own life in the theater in the musical revue Prince of Broadway
Jordan G. Teacher finds some satisfying challenges in Series A of the festival.
Jordan G. Teicher reviews Matt Cox’s tribute to the under-celebrated Hogwarts house.
Dominique Morisseau takes on the school-to-prison paradigm in her newest play. Cameron Kelsall reviews.
Patrick Maley reviews The Seeing Place’s revival of Caryl Churchill’s 1979 play.
Despite its compelling trio of strong female leads, Alison Walls wonders why this ’90s family drama has lost its punch.
Lane Williams reviews New York City Opera’s truncated, sometimes thrilling adaptation.
Violent and provocative, Robert Icke and Duncan Macmillan’s 1984 brings Big Brother to Broadway with Tom Sturridge and Olivia Wilde
Loren Noveck reviews a play about its own impossibility to be, in the face of the impossibly huge challenge of climate change.
Loren Noveck and Molly Grogan review the newest immersive experience by Third Rail Projects, backstage at Lincoln Center.
Oskar Eustis takes on the would-be iron-fisted ruler with a heavy, heavy hand. Gabe Cohn reviews.