The Guardian · Jan 23, 2025
“English, Sanaz Toossi’s stunning Broadway debut, is a precise study of language’s significance.”
Also writes for: Broadway News, The Washington Post
Reviews
17
Average
64
Highest
99
Lowest
39
The Guardian · Jan 23, 2025
“English, Sanaz Toossi’s stunning Broadway debut, is a precise study of language’s significance.”
Broadway News · Dec 16, 2024
“Thank God for comedies that are actually funny.”
The Guardian · Jun 5, 2024
“But, despite its misfires, Home remains a humorous and mythic romp.”
The Guardian · Apr 25, 2024
“An attempt to evoke awe through hyper-extended dance intervals and flaccid sets, this remount prioritizes a good time over any purposeful recreation of the American classic.”
The Guardian · Apr 19, 2024
“Stereophonic, one of Broadway’s most striking plays of the season, is an allegory of industry greed and artistry.”
The Washington Post · Apr 17, 2024
“The production is busied with creating entertainment and signposting Blackness, at the cost of a cohesive, artistic vision.”
The Guardian · Mar 14, 2024
“For others, its cloying nature may prove too much.”
The Washington Post · Mar 7, 2024
“Drury and Peck have crafted something cinematic, a true tribute to Stevens’s original brilliance.”
The Guardian · Nov 2, 2023
“But the three-hander trudges along like a poorly written sitcom, grasping at themes versus addressing its lack of emotional heart or subtlety.”
The Guardian · Oct 3, 2023
“Jaja’s African Hair Braiding, a delightful Broadway debut by Jocelyn Bioh, is an ode to that experience, to the women who make it so.”
The Guardian · Mar 9, 2023
“Under Lloyd’s direction, Chastain emphasizes the responsibility and reverence of these identities that Nora firmly grasps, the real grief that swallows her when she fears she has corrupted it all.”
The Guardian · Dec 8, 2022
“But Ohio State Murders stumbles given its concealed retelling.”
The Guardian · Dec 5, 2022
“Cooper’s world is filled with far-reaching images and themes that sometimes lack payoff.”
The Guardian · Oct 13, 2022
“Wilson’s seminal work is tonally misread, flattened into a sitcom about a haunted piano versus a family struggling to forge anew amid their past.”
The Guardian · May 17, 2022
“The show is so precise and awake, from top to bottom, that having the privilege of sitting through it only once feels unfair.”
The Guardian · Oct 18, 2021
“But more often than not the play struggles to do justice to its broader themes, as well as the inner thoughts and the lived experiences of characters the show invites us to sit with.”
The Guardian · Oct 11, 2021
“Unfortunately, while Chicken and Biscuits promises romp and chaos, the play’s formulaic script feels like a drawn-out sitcom, having a more soporific effect.”