Criticism

David Dudley on The Goodman Theatre production of José Rivera’s Another Word for Beauty, directed by Steve Cosson in Chicago, Illinois.

Jonathan Mandell writes about the work of The Civilians, which he says "may be the most vibrant socially conscious, avant-garde, investigative theatre company in the country."

Marcina Zaccaria on Jody Christopherson’s Greencard Wedding at Dixon Place in New York City.

Henrik Eger looks at a musical about Alzheimer’s in Philadelphia with actors with speech impediments.

Patricia Davis on Mosaic Theatre's US premiere in Washington, D.C. of I Shall Not Hate, based on the life of Palestinian doctor Izzeldin Abuelaish.

James McMaster on the politics of Hamilton and the need for a musical theatre revolution.

Carlos Morton on the recent Los Angeles production of José Sanchis Sinisterra’s Ay Carmela. 

Amauta Marston-Firmino on Royal Osiris Karaoke Ensemble’s The Art Of Luv (Part 1): Elliot at the Under The Radar Festival in New York City.

Jonathan Mandell explores five common elements in immersive theatre, and what makes immersive theatre successful.

verity healey on what four new Russian plays performed at London’s Frontline Club say about the present and future of theatre in Russia.

Rhiannon D’Averc on Anna Ziegler’s Photograph 51 now playing in London, starring Nicole Kidman.

Holly Derr speaks with Lynn Nottage about her new play Sweat, a co-commission of Oregon Shakespeare Festival and Arena Stage, currently playing in Washington, DC.

Andrew Bailes reviews Theater Oobleck’s production of There Is a Happiness That Morning Is by Mickle Maher.

Melissa Huerta on the world premiere production of Migdalia Cruz’s Latins in La-La Land at the College of Wooster in Ohio. 

Martha Steketee talks with Associate Artistic Director Estelle Parsons about a public series on social justice that has been created out of Actors Studio session work.

Patricia Davis on the Klunch’s production of George is Dead by Elaine May in Washington DC.

The development and origin of Hot Pepper Theater, spicy hot and succinct theatre reviews.

Jonathan Mandell, unable to understand several recent plays, goes to the source to explain them, and then humorously debates how important it is for theatre to be coherent. 

HowlRound Senior Creative Producer Jamie Gahlon reveals the most-shared NewCrit pieces of the past year, and a few of her own favorites. 

Brad Rhines reviews Cosmin Chivu’s revival of Tennessee Williams’ The Mutilated at the Contemporary Arts Center in New Orleans.

Did 2014 reflect a kind of final critical understanding of Eno’s subject matter? Are we all finally ready to experience with him, according to his rhythms and speech patterns, the gentle devastation of small town family life? Perhaps yes to all of the above.

Rob Onorato considers the differences between shock and surprise on stage, and the effects of violence and traumatic theatre in columbinus and Gloria.

Manuel Betancourt on gay panic humor in Something Rotten! on Broadway.

Jonathan Mandell reviews the Second Stage production of Invisible Thread, a musical based on the real-life experience of theatre artists Matt Gould and Griffin Matthews creating a charity in Uganda.