We live in a world savaged by disbelief, where we're quick to label everything a scam. So one of the strangest effects of Tom Sachs’ Space Program: Europa is how it reconstitutes the possibilities of belief.
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Lying is fun. Catching liars -- that’s fun too. What’s not fun is being lied to. And getting caught in a lie, well, that can be an uncomfortable experience. The best thing about Christopher Chen’s Caught is that it's about lying, the fun and not so fun parts.
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Even though it is still summer, every day is ending a little sooner. And as it gets darker and darker, as the fall leads to the coming winter, the theater returns in full force.
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The principal beauty of George Bernard Shaw’s plays is that despite all the arguments, almost none of his characters makes sense. And the nonsense makes the arguments all the more fun.
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The Carole King musical Beautiful and Mediumface’s production of Showgirls! The Musical live in different worlds and it's no surprise that the trashier one is more pleasant
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Bennet Fisher’s Campo Maldito has a sly start then slips into a morass of cliches.
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In a wild, take-it-to-the limit Ubuntu Theater Project production of Katori Hall's Hurt Village, we're assaulted with a world littered with false prophets.
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You could argue that there’s no such thing as political theater, that all theater is political, or that politics is politics and art is art. Yet theaters return again and again to the political with the obvious hope that what they put on stage will resound in the greater Republic.
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Sarah Shroud's The Box is locked in an aesthetic and political battle over how best to depict the brutalizing nature of incarceration. It's a draw between journalistic insight and dramatic failure.
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I don’t know if the world-renowned South African playwright Athol Fugard has ever met the Jamaican-born, New York-raised pop icon Grace Jones, but if not, the world should set them up for an unholy date of violent opposites.
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