Tristan and Yseult Score 89%

Tristan and Yseult

The main attraction here is the spectacle, the song and dance and aerial acrobatics and healthy helpings of comedy. And on that front, this show delivers. Every moment is inventive. Each scene tries something new.

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The Verge Score 78%

The Verge

Breaths. Wind. Storm. A glass-enclosed, beautiful space, vines and roses extending up and across walls. I take a breath, feeling the freshness, calmness, of being alone in a greenhouse. But this space will be anything but calm. Miriam Silverman shakes us; her explosive Claire is both likable and not, and I’m left with complicated emotions towards her daring boldness and womanhood. 

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USER AGREEMENT Score 85%

USER AGREEMENT

User Agreement’ at Williamsburg’s The Makers’ Space on N 7th Street explores the fine print of societal contracts and the pieces that we skim over as we struggle to find community together.  

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Waiting For Lefty Score 95%

Waiting For Lefty

WAITING FOR LEFTY This production of “Waiting For Lefty” is captivating.  It uncovers a play whose roots run deep and invites us along for the ride.  Of course we accept. When it’s over you don’t want to leave the room.

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COPPERFIELD! THE NEW MUSICAL Score 75%

COPPERFIELD! THE NEW MUSICAL

Copperfield! The New Musical,  is a mostly delightful evening. For those less familiar with the novel (like myself), it provides a broad overview of the major plot points through an endearing ensemble performance and impressive musical (instrumental and vocal both) chops. The performances are strong and the ensemble is entertaining, but the piece overall doesn’t leave a lasting impression.

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Legerdemain at The Tank: Lynn Rosen’s Sleight-of-Heart Comedy Score 98%

Legerdemain at The Tank: Lynn Rosen’s Sleight-of-Heart Comedy

Some shows dazzle; Legerdemain enchants. Lynn Rosen’s sparkling comedy turns a restaurant’s back alley into a palace of wonder, where three marvelous actors trade laughs, secrets, and sleight of hand until even grief learns a new trick. Julie Kramer’s staging is crisp, tender, and perfectly timed. Performances continue at The Tank through November 22, and seats are scarce in this intimate house. Book now, bring someone you love, and prepare to believe in magic again.

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I Became We Score 90%

I Became We

Mona Pirnot presents us with another form-bending, auto fiction production–a play, I Became We–with its entirety sang by a 16-person classical choir. This intimate, humorous, and familiar narrative explores decisions and expectations of women and couples. Pirnot has this deftness in making me cry over the most common, collective happenings. She carries these experiences which are just as personal as they are universal. 

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A Ghost in Your Ear at Audible Theater Score 68%

A Ghost in Your Ear at Audible Theater

Though A Ghost in Your Ear doesn’t meet expectations, its approach is undeniably inventive. The show points us to an exciting possibility for what can be done at the Audible’s Minetta Lane, and is certain to inspire the audio and sound aficionados among us.

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