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“’Nomad Hotel’ is efficiently and imaginatively directed...Iskandar also winningly shepherds the play’s dual energies: a kind of desperate sense of reality fused with a more poetic or aspirational edge...Shaw's costumes allow the characters to successfully inhabit multiple playing areas...If the production seemed at times somewhat constrained by its spatial limitations, the fact that all the characters seemed to be bursting out of their emotional and physical lives seemed to suit the play fine.” Full Review
"Jeff Liu’s direction is an adroit reading of the play’s pulse, which takes its quiet, deliberative time in building to heart-racing moments but never fails to speed back up fluidly and convincingly when necessary. And the cast ably, believably, skips through the roving genres—and various, plasmatic possibilities." Full Review
"Snider takes care to establish two fully realized characters...When the lights go low for the jail scenes, so does, for the most part, the energy of the play, the intensity of the emotion, the crispness of the pacing. And yet 'Death of a Driver'—with its earnest, resolute characters and rich dialogue, its sharp, human wit, and the deft, physical manner in which Baskin and Ssenjovu navigate the external playing fields—often makes for a gripping, captivating night in the theater." Full Review
“A new, gorgeously lyrical work...The play is missing those elusive moments that allow us to inhabit, however briefly, the internal lives of these people...And while the direction is crisp and energetic in its pacing and choreography, the characters too often resort to screaming...That the play succeeds as often as it does is a tribute both to the production’s formal elements as well as Dickey’s virtuosic abilities with language. Her words ensure that you are irrevocably, helplessly, drawn to... Full Review
“McCraney refuses to settle for a modern, coming-of-age story...He starts there and incorporates—and implicates—the rest of humanity...‘Choir Boy’ succeeds not just because of its words and themes...It is impossible not to be swept away by the soaring, a cappella heights of the show’s songs and its use of complex, explosive dance movement...The production is sumptuously, sensitively directed...This is a play that exquisitely balances light and dark, hope and despair.” Full Review
“An imaginative, visually stunning, musical send-up of the children’s classic...Overlong...and not all of the numbers impress equally; but the sheer ability of the performers...is often nothing short of astonishing...’Queen of Hearts’ invokes the source material while using virtually none of its language...’Queen of Hearts’ finds elevated company in its use of ‘Alice’s Adventures In Wonderland’ as both gimmick and foundational subject matter." Full Review
"Not that you need a prerequisite course in horror esthetics to enjoy what’s happening right now at the Playhouse. Anna Stromberg and Burt Grinstead, the writers and the entire cast of this new, bare-boned, ingenious production of 'Dr. Jekyll and Mr. Hyde,' have invented a show that simultaneously parodies and finds the inherent drama in this tragic, cautionary tale...The contributions that Stromberg and Grinstead have made to 'Jekyll and Hyde' seem to further layer the show’s DNA." Full Review
“A piercingly stunning new work...A play devoted to various manifestations of seeing...Webb creates a fiercely winning twosome, one so very tender and satisfying that it is a big part of what makes ‘The Light’ so completely believable and watchable...Exquisite production, directed with an acutely sensitive touch...At times, can seem objective or presentational...In any case, the writing, acting and direction are so substantive and knowing, it hardly matters.” Full Review
“Captivating...All of LaBute’s one acts...deal with at least the proposition of alternative facts...The remarkable thing about these plays is that LaBute is not asking us simply to do our research and compile the facts before weighing in on the external evidence of history. He is instead asking us to mine the direction of our own internal moral compass and, without any coaching or prompting, reject the very notion of anything as tragically destructive as evil or alternative facts.” Full Review
"'Hell' aims to dive low and come up kicking, making spot-on connections between the underworld and such real live mortal threats as Sean Hannity. It’s also appealingly unafraid to invoke Oz-like sentiment in its refusal to grant everybody in its cast a beating, earthly heart...One sometimes wishes the musical had had the faith to pursue more complex and meaningful choices. However, there is plenty on the York stage at present to joyfully defeat the cruelest, most moribund fruitcake." Full Review