Tag Archives: off-off-Broadway

The sharp poignancy of Ibsen's classic comes through strongly in a flawed but sincere new production by the young company The Instigators. The tragic story of an unhappy young wife whose hopes of a glorious future of social ascendancy are being dashed before her eyes rings as true today as it did when Ibsen wrote it 125 years ago.

Mae West wrote 'SEX' in the mid-1920s, just after the peak of first-wave feminism hit with the passage of the 19th Amendment in 1920. First-wave feminism was about suffrage and other basic political inequalities. 'SEX' more directly challenges gender roles and expectations and illustrates the hypocrisy and tragic consequences of societal gender inequities. So, West was more in line with second-wave feminism – which didn’t happen until the 1960s!

Alberto Bonilla's powerful staging set in postwar Italy does just about everything right.

Welsh villagers are pressured to leave their ancestral homes when the government suspects their mountain may collapse.

The text of this well-staged new adaptation strikes a smile-inducing, attention-grabbing, and surprisingly believable balance between literary authenticity – this is indeed Euripides' play in all its essentials – and contemporary informality and even snark.

At moments, the refreshed production of NYC's longest-running play reminded me of looking at those books of old New Yorker cartoons from the 1950s and '60s, with their wordless multi-panel stories and their hapless Organization Men. But for most of its length, I wished I'd gotten on line for something else.

New Light Theater Project's new production gives us an uncommon triple portrait of common anguish, straight from the strange country of the human condition.

This intense new play hurls us into a deadly thicket of politics and diplomacy, international business intrigue, the clash of cultures, and jihad through the fictional story of a British hostage in Somalia.

Lovely writing and solid acting make Will Coleman's literate, thoughtful one-act shine, but an unorthodox structure prevents it from achieving a dramatic arc.

Flux Theatre Ensemble executes Tseng's brash post-zombie-apocalypse premise with equal parts psychological grace and horror-story panache.