What would happen if a bunch of early-20-something city-dwelling music-video-watching lower-middle-class variously privileged poorish Americans launched a violent revolution against the state?

GENTLEMAN VOLUNTEERS displays charm, psychological interest, and fringe sentiment which planted the roots of Pig Iron’s experimentation.

In deep Siberia, Karp Lykov and his grown children encounter their first outsiders in fifty years.

Impressive theatricality in an imperfect production of Orwell’s allegory of the Russian Revolution and Stalin’s real-life dystopia.

In George + Co.’s HOLDEN, J. D. Salinger hasn’t published another book since two assassins blamed his The Catcher in the Rye for their own acts of violence.

The success of TV is based on its ability to entertain. Theater must be its own medium. It must say new things, create new forms, eschew entertainment in order to challenge, and let audiences turn on their minds.

This DOLL’s HOUSE is human and multifaceted, lighthearted and ironic, narrative with a dancer’s expression of character.

Toneelgroep’s take on these classic screenplays retains all of the rawness of and cruelty of Bergman’s films.

“There are so few secrets left in life, I wanted to make something where you can’t put it in a search bar and get it.”

This is a play that is constantly surprising, entrancing, and always a step ahead of expectations.

“In film,” pronounced Ivo van Hove, “the director is the god of his creation.”

James Ijames’s MOON MAN WALK, the first offering by new playwrights’ collective Orbiter 3 presents a fantasy world and a very real story. And a manic pixie girl.

All Mary Tuomanen wants to do is tell us a story about Jean Seberg, but things keep coming up.

Thaddeus Phillips plays Barry Seal, a real-life, infamous drug smuggler-turned-DEA-informant who eventually gained the ire of both smugglers and government agents.

The play, like its characters, exists in a dream-world

Brat Productions’ PLANT ME HERE presents a saccharine dream of ruin and rebirth.

It’s the fourth installment of the Critical Mass review of MACBETH at the Arden, but Julius Ferraro thinks too many works have already been written about an unremarkable piece of theater.

Chelsea & Magda speak directly from their vaginas. If you’re not into that kind of thing, don’t see THE VULGAR EARLY WORKS.

in a medium fraught with love stories Shaw gleefully throws dirt into our eyes and says: yours is a sick obsession.

Jen Silverman’s play tells the story of a young woman who has moved to London to escape the dangers of being a lesbian in South Africa.