A production with same-sex leads is one of many signs that directors are approaching the Rodgers and Hammerstein classic with new eyes.
Author Archives: LAURA COLLINS-HUGHES
Jonathan Leaf sticks close to historical fact in his ambitious new verse play, but the action in this production always feels removed, like a diorama.
A play based on a confessional, self-obsessed woman’s memoir — from the 15th century — is back, at the Duke.
Following “The Originalist,” the judge talked fondly about its subject: her frequent legal sparring partner Antonin Scalia.
But, racing through 40 classic Leiber and Stoller songs in 90 intermission-less minutes, the show only occasionally slows down enough to breathe.
A show set inside a smartphone is silly yet surprisingly resonant with contemporary politics.
This immersive British import at Roy Arias Stages puts a crusty toilet in the center of the audience, but it lacks the film version’s sense of seamy tragedy.
Defiance and justice drive this brisk staging from the Classical Theater of Harlem, directed by Carl Cofield.
Rajendra Ramoon Maharaj’s visceral play with music explores an ugly historical chapter in the fight for school integration.