Finally, a stage-to-screen adaptation that asks, “What if we replaced the main character in a teen suicide drama with Howard the Duck?”
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Pass Over, with its flaws, beauties, and contradictions, is much the same, but heralds an electric new moment in highly-visible American theatre.
Read More![Review: Revisiting Four Nobodies in ‘[title of show]’](https://images.squarespace-cdn.com/content/v1/5daa1f8ddef0eb7cf2ab2722/1631889330696-FPZIVBYBS68H8P264MJV/merlin_193335852_5433cb1d-9fb0-40ab-a5fa-d0eed0007b00-superJumbo.jpg)
NYT: For an outdoor residency at the Brooklyn Navy Yard, the Bridge Production Group breathes fresh life into a 2004 musical.
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Enough motherly patronizing, because Everybody’s Talking About Jamie is ultimately a pleasure to experience and features strong supporting turns from its cast.
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It’s updates like these that left me feeling like this work might have been better left alone, without all the fuss about updating the show’s politics and instant relatability.
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A world tour of the grandstanding kvetching for which Jackie Hoffman is rightfully beloved
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Zola is the most Florida movie I have ever seen (this is a good thing).
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Persou has the enjoyable edge of being one of the first in-person, immersive live productions happening in New York, but none of the Greek catharsis it promises.
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Like a mistake that nine months later turns into a beloved, if troublesome, child, CRUELLA is a welcome addition to the landscape.
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Leave everything at home and tell that friend with the speakers to come through, because Jon M. Chu’s In the Heights is the glimmering rainbow under an open fire hydrant, and with just as much force.
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Animal Wisdom is a delightful two hours spent in the company of a woman who knows how to old-school entertain and serves as the year’s best highlight reel for Christian’s talent.
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You don’t walk into a play titled Lilies, or the Revival of a Romantic Drama expecting realism, and yet, in this staging, one longs for the flowery melodrama the name promises.
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