An excellent group of poems and dramatic scenes about forced migration wants to break free of its Zoom box.
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The Public Theater presents a “Marxist Lynchian nightmare” from Chilean company Teatro Anónimo that meets the anxieties of our time.
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Juan Ramirez finds no joy in this “lifeless production” of Richard Greenberg’s new play, with a “dire lack of dramatic tension.”
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Juan Ramirez finds more repetitions of an idea than productive variations on a theme in Eboni Booth’s new play for the Atlantic.
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Charles Busch is a legend, but Juan Ramirez finds his newest play a little too retro for its own good.
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We are coming to the close of a decade of theater. It’s also Exeunt’s 10th birthday too. We thought back on the shows, trends, and performances that we still carry with us from the past ten years.
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The Exeunt critics look back on 2019 and recall their most memorable theater moments.
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Juan A. Ramirez is sufficiently spooked by Lucas Hnath’s new play that looks at one woman’s connection to the space between life and death.
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Juan Ramirez finds Stephen Adly Guirgis’s newest play “intensely watchable” and “refreshingly nonjudgmental.”
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Haircuts and community abound in this exhilarating production from London’s National Theatre that has stayed with Juan A. Ramirez since he first saw it a year ago.
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A real life attack of sexual violence is refracted through multiple perspectives and the distance of memory in this adaptation of an Édouard Louis novel from the Schaubühne Berlin. Juan A. Ramirez reviews.
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Ntozake Shange’s choreopoem offers serious beauty against an awful world in a joyous production at The Public. Juan Ramirez reviews.
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