The New Yorker · Jun 17, 2024
“You should be able to feel or hear or see them somewhere in this story, but the frame’s too tight.”
Reviews
9
Average
76
Highest
91
Lowest
62
The New Yorker · Jun 17, 2024
“You should be able to feel or hear or see them somewhere in this story, but the frame’s too tight.”
The New Yorker · Mar 22, 2024
“It was a masterstroke to cast Jeremy Strong in the role of Thomas Stockmann.”
The New Yorker · Mar 11, 2024
“Life makes better sense when you stop and talk it out.”
“Young’s hilarious, heartening Lutiebelle fulfills a hope shared by lovers of performance and workers for social peace—that freedom might be found not only on a page but written in a body, and on the heart.”
The New Yorker · Jun 12, 2023
“Eric Ting, the director, has choreographed their intimacies intricately, and with loving attention to the unspoken histories behind their interactions.”
The New Yorker · May 1, 2023
“The production gets wooden when Oscar goes on long rants that are thinly veiled exposition, catching the audience up on every nook and cranny of his career.”
The New Yorker · Nov 28, 2022
“The show is a small miracle of tone, managing to be both heartbreaking and funny, tender without being saccharine.”
The New Yorker · Nov 12, 2018
“This is a woefully desiccated and undignified way to describe, or to remember, any person, actual or archetypical, in all his specifics or as a symbol of his country.”
The New Yorker · Oct 29, 2018
“Gladys’s descent is quick and cruel, making May’s portrayal of her mental drift, with a sweet and helpless but also determined intelligence, all the more wonderful.”