‘What the Constitution Means to Me’ and the Female Storyteller
In her boundary-breaking, civically engaged play, Heidi Schreck shows that a woman telling her story is a political, and powerful, act
Category Archives: Critic’s Notebook
‘Oklahoma!,’ Still Okay?
Two new revivals—one ebulliently LGBTQ, another brooding and immersive—make this musical warhorse run in new directions.
The Shaw Festival’s Welcome Wagon
Under a.d. Tim Carroll, Niagara-on-the-Lake’s company honors its namesake with new work, complementary programming, and even—zounds!—a Shakespeare.
A Gay ‘Inheritance’ That’s Generations in the Making
Matthew Lopez’s two-part epic uses E.M. Forster as a template and is playing in London, but this sweeping, imperfect play is unmistakably American.
In With the New at Oregon Shakes
By doing such vital work by living playwrights, this classical destination theatre with Shakespeare in its name effectively puts them on equal footing with the Bard.
What a Girl Wants
‘The Wolves,’ ‘Dance Nation,’ and ‘School Girls,’ all by young female playwrights, show girlhood in all of its complexity and ferocity.
High Noon for Democracy in ‘Ameryka’
What do Polish and U.S. history have in common? Nancy Keystone’s beguiling new mash-up makes the connections.
Women Ran the Table at the 2018 Humana Festival
At the 42nd Humana Festival of New American Plays, the Kilroys and Anne Bogart spoke, Lauren Gunderson got a prize, and a majority female-authored program commanded the stage.
Ibsen, Our Contemporary
What gives this 19th-century Norwegian’s plays their lasting power? ‘Power’ is the operative word.
‘Girl From the North Country’: How Does It Feel?
Conor McPherson, handed Bob Dylan’s complete song catalogue, no strings attached, brings it all back home.
