THE HANGOVER REPORT – TITANIQUE sets sail on a larger ship, polished and more hilariously camp than ever

I recently had the opportunity to revisit Titanique, which has transferred from Asylum NYC (essentially the basement of a Gristedes in Chelsea) to the larger, much fancier digs of the … Continue Reading →

THE HANGOVER REPORT – Lear deBessonet’s underpowered production of DISNEY’S HERCULES at Paper Mill Playhouse struggles to pinpoint its identity

This past week also saw the highly anticipated opening of Disney’s Hercules at Paper Mill Playhouse in Millburn, NJ. Of all the film to stage adaptations in currently in development … Continue Reading →

THE HANGOVER REPORT – François Girard’s musically resplendent new production of Wagner’s LOHENGRIN continues the bleak saga that began with PARSIFAL

Last night, I attended the Metropolitan Opera’s new production of Lohengrin by Richard Wagner. As one of the composer’s Romantic operas, the 1850 work includes elements of traditional grand opera … Continue Reading →

THE HANGOVER REPORT – The iconic Batsheva Dance Company returns to New York with Ohad Naharin’s anti-intuitive yet accessible HORA

This week, Batsheva Dance Company made a welcome return to The Joyce Theater, where it has settled in for a two-week run of Ohad Naharin’s 2009 creation, the fittingly entitled … Continue Reading →

THE HANGOVER REPORT – Emily Feldman’s THE BEST WE COULD channels classic American plays in its dissection of a family at wits’ end

Last night, Manhattan Theatre Club’s Off-Broadway production of The Best We Could (a family tragedy) by Emily Feldman opened at New York City Center Stage I. The play’s premise is … Continue Reading →

THE HANGOVER REPORT – Signature premieres LETTERS FROM MAX, Sarah Ruhl’s evocative testament to a kindred spirit gone way too soon

Earlier this week, Signature Theatre Company’s world premiere production of Letters from Max by Sarah Ruhl opened at the Pershing Square Signature Center. The two-hander was adapted by the MacArthur … Continue Reading →

THE HANGOVER REPORT – The devastating THE JUNGLE returns to St. Ann’s Warehouse, and it remains tremendous, essential theater

One of the most vivid and powerful nights of theater that I’ve encountered over the past few years was St. Ann’s Warehouse 2018 presentation of The Jungle. Written by Joe … Continue Reading →

VIEWPOINTS – Uncovering lost plays (and a lost New York): Lorraine Hansberry’s THE SIGN IN SIDNEY BRUSTEIN’S WINDOW and Betty Smith’s BECOMES A WOMAN

Last night, a pair of flawed but intriguing plays that have been tossed to the wind have been recovered and given important productions. Coincidentally, both works also conjure a New … Continue Reading →

VIEWPOINTS – Views of the American immigrant experience: Deepa Purohit’s ELYRIA and Ronán Noone’s THE SMUGGLER

Currently on the boards are a pair of Off-Broadway plays that together constitute an interesting examination of the American immigrant experience. Read on for my thoughts. ELYRIAAtlantic Theater Company at … Continue Reading →

THE HANGOVER REPORT – At CSC, Marcus Gardley’s ambitious, spiritual BLACK ODYSSEY mines the past as a means of journeying forward

Last night, Classic Stage Company’s production of black odyssey by Marcus Gardley opened Off-Broadway. If you haven’t already surmised, the ambitious play — which was originally developed and produced by … Continue Reading →