Criticism

David Bruin on Daniel Fish’s production of Oklahoma! at Bard’s Fisher Center.

Paul Adolphsen explores major themes of the National Arts Festival in Grahamstown, South Africa.

Jake Rosenberg on Shotgun Players Cabaret presentation of Monique Jenkinson’s Faux Real in Berkeley, California.

Aaron Hunt on new musical development in Chicago, Illinois.

Patricia Davis on Mehshaun Labrone’s Power! Stokely Carmichael at Washington DC’s Capital Fringe Festival.

Patrick Gaughan on Elevator Repair Service’s adaptation of William Faulkner’s The Sound and the Fury. 

Jonathan Mandell on the serious fare on display at the forthcoming New York International Fringe Festival.

Patricia Davis on Kathryn Brant’s The Good Counselor, produced by 1st Stage in Tyson’s Corner, Virginia.

Martha Steketee on Daniel Talbott’s ghost story of a sand-bound ship of fools and the exquisite possibility of forgiveness. 

Jonathan Mandell on Douglas Beane’s Shows for Days, and the shifting definitions of "professional theatre" and "theatre professional."

Cassidy Dawn Graves on the Playwrights Horizons production of The Qualms by Bruce Norris.

David Bruin on Mondo Bizarro and ArtSpot Productions’ Cry You One at the Arts & Ideas Festival in New Haven, Connecticut.

Jess Applebaum on Sylvia Milo’s original solo performance as Nannerl, Mozart’s mostly-forgotten sister in The Other Mozart.

Jonathan Mandell explores the use of violence on stage, and how theatremakers use the stage to respond to violence.

Tiffany Antone reconsiders the decision to include a trigger warning on playwright Jennie Webb’s “little rape comedy.”

Spencer Shannon on the critical reception of A. Rey Pamatmat’s after all the terrible things I do and Edith Can Shoot Things and Hit Them in Boston.

Roxanne Schroeder-Arce on Cenicienta by Rupert Reyes and Caroline Reck, and Alvaro Saar Rios’ LUCHADORA!

Jonathan Mandell on  the intersection of not-for-profit and commercial  theatre, and how to  affordably see  Broadway's best  of 2015. 

Emma Wiseman on Dangerous Ground’s adaptation of the 1972 film Solaris, S., in New York City.

Beatriz J. Rizk on La virgen triste by Elizabeth Mena, performed by Miami-based theatre  company Galiano 108.

Brian Herrera on Jason Neulander and Chad Nichols’ trilogy, The Intergalactic Nemesis, at the Alamo Drafthouse in Austin, Texas.

Patricia Davis on the Hub Theatre’s production of Adam Bock’s The Typographer’s Dream in Fairfax, VA.

Rob Onorato on Steppenwolf Theatre’s production of Marie Antoinette by David Adjmi.