David Fox and Cameron Kelsall


Street scene Street scene

In his attempts to be clever, and to overstuff Leopoldstadt with a dictionary’s worth of marginalia, Tom Stoppard never lingers on a character or storyline long enough to develop it into something worth caring about.

on October 11, 2022 at 9:22 AM
‘Big D’ energy ‘Big D’ energy

Only three years separate the creation of The Most Happy Fella (1956) and The Sound of Music (1959), but there’s a proverbial ocean between these two Golden Age musicals are being performed at prestigious festivals this summer.

on July 20, 2022 at 12:22 PM
Wet blanket Wet blanket

Do you know the musical about the quirky little girl, her dysfunctional family and the devastating secret that binds them all together?

on June 07, 2022 at 10:00 PM
A faint impression of the genuine article A faint impression of the genuine article

Can we start by not using Barbra Streisand as a polestar here?

on May 31, 2022 at 9:00 AM
Middle America in caps Middle America in caps

This is more than just a revival—it’s a reinvigoration of what I consider to be one of the best works of the last 50 years.

on April 19, 2022 at 9:00 PM
Trouble in River City Trouble in River City

Jerry Zaks’ high-gloss production, which trades heavily on a bland Americana at odds with the sharp satire of Meredith Willson’s libretto and timeless score, operates on all cylinders but fires on hardly any.

on February 19, 2022 at 8:00 AM
Cries and whispers Cries and whispers

Embedded in the discursive scenes that make up the 100-minute play Shhhh is the notion that the line between pleasure and pain—of the corporeal and psychological varieties—is ever-shifting and often problematically conceived.

on February 14, 2022 at 10:05 AM
Everything new is old again Everything new is old again

I see in Kimberly Akimbo an audacious idea, once unthinkable territory for a musical, which is realized through a highly imaginative and often unpredictable use of song and especially open-ended ensemble writing.

on December 14, 2021 at 3:44 PM
Sorry/Ungrateful Sorry/Ungrateful

Katrina Lenk’s Bobbie dutifully channels an assertive, contemporary, sexually confident female persona, but it doesn’t feel fully realized or convincing.

on December 09, 2021 at 9:00 PM
It ain’t easy being tween It ain’t easy being tween

The purview of so much gay theater still focuses squarely on trauma—consider the recent Tony sweep of The Inheritance—that the story of a queeny pre-teen who loves Diana Ross and lives out loud unapologetically seemed like a welcome tonic.

on November 10, 2021 at 9:45 PM
‘Morning’ is broken ‘Morning’ is broken

Morning Sun often feels as occluded and distancing as the austere, featureless set on which it’s performed.

on November 03, 2021 at 9:00 PM
Hate-watch Hate-watch

I can’t imagine anyone watching this two-hour schlockfest at home and then dropping $150 for the privilege to see it again, masked and in an uncomfortable chair.

on October 03, 2021 at 2:26 PM
That’s why I pulled the trigger That’s why I pulled the trigger

Watching Gloria Grahame—lips moist and parted, eyes staring off into some faraway middle distance—is absolutely arresting. She looks like the quintessential Noir femme fatale that was, in fact, probably her principal calling card.

on August 31, 2021 at 12:49 PM
Tenors al fresco Tenors al fresco

Lawrence Brownlee and Michael Spyres are two singers at the top of their game, as this concert showed, virtually peerless in music as punishing as it is pretty.

on August 28, 2021 at 1:49 PM
Telling the world we are not invisible Telling the world we are not invisible

Director Jon M. Chu’s film adaptation of Lin-Manuel Miranda’s In the Heights has come around at exactly the right moment.

on June 14, 2021 at 8:54 AM
Ladies of Spain Ladies of Spain

I’ve enjoyed these streamed recitals, warts and all, and always appreciate the chance to watch performers let their hair down, so to speak.

on May 22, 2021 at 5:09 PM
Confrontation, catharsis and crisis Confrontation, catharsis and crisis

One by one, we see the principals arriving at the eerily empty building. Something about watching them—masked and in street clothes, struggling with umbrellas—was almost unbearably emotional for me.

on May 12, 2021 at 11:44 AM
The ‘Drama’ you’ve been craving The ‘Drama’ you’ve been craving

Opera is back, baby, and it’s good to be home!

on May 06, 2021 at 3:34 PM
Monsters don’t die early Monsters don’t die early

Sweet Bird of Youth closes out an undeniably successful decade for Tennessee Williams, on stage and screen, and bisects his body of work, with his mature hits on one side and his experimental, often lambasted later plays on the other.

on March 31, 2021 at 10:53 AM
Original ‘Sin’ Original ‘Sin’

I can safely say that this is the gay drama I’ve been waiting for: a genuinely devastating drama that doesn’t treat its characters like lambs waiting for the slaughter or overdose on weepiness, and a queer narrative that unapologetically centers the queer perspective.

on March 03, 2021 at 12:08 PM
Fascinating but frustrating Fascinating but frustrating

Now, through the auspices of the Metropolitan Opera, we have Sonya Yoncheva—and if anything, the diva-dom has been kicked up a notch!

on February 27, 2021 at 4:28 PM
Forging forward, instruments in hand Forging forward, instruments in hand

Whatever you think of Angela Gheorghiu, she epitomizes a star sound, the kind of voice that’s recognizable within three seconds, and she definitely knows her way around a performance.

on February 23, 2021 at 10:00 AM
Peyton Place on the Riviera Peyton Place on the Riviera

If The Night of the Iguana is not exactly a day at the beach, it’s not really the dark night of the soul it should be, either.

on February 15, 2021 at 9:25 AM
Wild things leave skins behind them Wild things leave skins behind them

We shared a feeling that writing about The Fugitive Kind was a date with destiny.

on February 03, 2021 at 10:22 AM
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