THE HANGOVER REPORT – NO. 9 delivers soulful, nourishing experiences in which reality and artifice are blurred through conversation

Last night, I trekked out to Williamsburg to take in No. 9, a new immersive experience from the folks at Roll the Bones. Immersive theater has long asked participants to … Continue Reading →

THE HANGOVER REPORT – The new musical adaptation of THE GREAT GATSBY streamlines and reframes Fitzgerald’s novel, for better and for worse

Last night, I took a field trip out to Millburn, NJ to check out the musical adaptation of The Great Gatsby at the Paper Mill Playhouse. Based on F. Scott Fitzgerald’s popular … Continue Reading →

VIEWPOINTS – A haunted house recap: Going back to basics with BLOOD MANOR, TERRORVISION, and NIGHTMARE DOLLHOUSE

This Halloween season, New Yorkers have available to them a wide variety of live entertainment options. Diverse shows like Renae Simone Jarrett’s Daphne, Edgar Oliver’s Rip Tide, Sankai Juku’s KŌSA, … Continue Reading →

THE HANGOVER REPORT – In the refreshingly amiable RIP TIDE, Edgar Oliver fondly conjures his younger self vis-à-vis the Pyramid Club

Last night, I had the opportunity to catch up with Edgar Oliver’s Rip Tide, which is currently wrapping up performances at Axis Company in the West Village (the final performance … Continue Reading →

THE HANGOVER REPORT – New Victory presents THE VANISHING ELEPHANT, a soulful family concoction that evokes “War Horse” and “Life of Pi”

This past weekend at Stage 42, I had the chance to catch up with New Victory Theater’s Off-Broadway presentation of the Cahoots NI production of The Vanishing Elephant by Charles … Continue Reading →

VIEWPOINTS – Deeply internalized trauma through a surreal lens: Renae Simone Jarrett’s DAPHNE and Gisèle Vienne’s L’ÉTANG

In recent days, I was was able to take in a pair of fascinating shows, both of which depicted deeply internalized trauma through a surreal lens. Read on for my … Continue Reading →

THE HANGOVER REPORT – Sondheim’s final musical HERE WE ARE finds the late master still questing to stretch the limits of the form

Last night, Stephen Sondheim’s final musical Here We Are opened at the Griffin Theater at The Shed. Co-written with playwright David Ives — who provided the musical’s substantial book — … Continue Reading →

VIEWPOINTS – Laurie Anderson’s upbeat LET X = X and Gregory Maqoma’s transcendent BROKEN CHORD kick off BAM’S Next Wave 2023 with a bang

This week, the 2023 version of the Brooklyn Academy of Music‘s Next Wave Festival kicked off with a bang with a pair of memorable offerings (see below for my further … Continue Reading →

VIEWPOINTS – Observing Western classics through specifically feminist lenses: Jeremy Tiang’s SALESMAN之死 and Caitlin George’s HELEN.

Opening last night were a pair of new Off-Broadway plays, both of which happen to investigate Western classic through specifically feminist lenses – to fascinating (albeit at times uneven) results. … Continue Reading →

VIEWPOINTS – Superb specimens of downtown theater this fall: Dmitry Krymov’s BIG TRIP at La MaMa and Max Wolf Friedlich’s JOB at SoHo Playhouse

This autumn, I had the great pleasure taking in superb specimens of downtown theater that had me reeling with their exceptional quality. Here are my thoughts on them. BIG TRIPLa … Continue Reading →