In one way or another, the shows on this list were high-risk endeavors that gloriously paid off.
O’Hara discusses encouraging complicity between the audience and the production.
Darren Criss and Helen J. Shen turn the slightest of touches into electric connection.
Rachel Zegler and Kit Connor’s casting will persuade their fans that this story is dope AF.
Sunset Boulevard’s heavy bones drag behind Jamie Lloyd’s austere vision like a body bag.
The unendurable passage of time haunts both plays.
Not knowing what’s real and what’s not is less compelling than McNeal contends.
Hwang discusses his expectations for the autobiographical play now that it’s on Broadway.
At its funniest, The Roommate is a comedy of manners, an unapologetic throwback.
If the show isn’t just riotously funny but whipsmart and lovely, too, so are its new stars.
With Life and Trust, Emursive has opted wisely for mood over minutiae.
Job preserves an unsettling undercurrent, despite its ridiculous premise.
Despite the 12 Angry Men-like setup, there’s nothing anonymous about the women here.
There are at least four celebrated contenders vying, all equally convincingly, for the top prize.
Each play poeticizes the cradle-to-near-grave journey of so-called ordinary American lives.
The show ultimately overlooks its own message: that a little isolation goes a long way.
The play examines the provenance of a photo album from Auschwitz.
This Great Gatsby is an engaging, tautly rendered, and visually dazzling ride.
Mac discusses experience of starring in Sarah Ruhl’s show and the projects waiting in the wings.
A smarter, warmer, bolder revival of The Wiz remains tantalizingly out of reach.
It never stands a chance of being so bad it’s good because it wants to be good so badly.