In the second act of Liberation the main cast quietly, and without fuss, starts to undress. By the time the lights go up, all six women are naked. In this masterful play by Bess Wohl, the moment does not feel shocking or gratuitous but somehow comforting. In 1970s Ohio, a group of women meet weekly
Masquerade honors and innovates the legacy of Phantom of the Opera
Director Jonathan Bank is unable to do the play justice
Olivia Levine’s one-woman show takes the mental illness as a subject
Every detail, every sound, every object feels intentional
The musical flirts with nonconformity and then, scared, retreats into its own shadow
The Met’s newly reopened galleries are breathtaking
The musical is all cliché – and not in a good way
The experimental culinarian is coming to New York
An irreverent musical about the ‘life’ of a mysterious dead body forces us to confront death
Dandyism was imposed on enslaved black men in the 18th century by their owners
Sarah Snook excels in her 26-role masterclass — but there’s too much tech
Clooney has chosen to make a splash on Broadway in a play that is explicitly political
‘Drawing the emotions out of my father was the most challenging part’
‘I feel like New York is the city that is always exploring new things. If you have a new idea, you put it here’
The songs explode. The passion overwhelms. It’s opulent when it needs to be, fun when it needs to be, and intoxicating
The original cultural punch of the 1970s production has been replaced with gaudy, empty commercialism
The language itself — and the on-the-nose themes that Amy Herzog has unsubtly emphasized — feel like they could be sourced directly from Twitter/X
Director Maria Friedman has harnessed revelatory performances from her three leads to create a theatrical masterpiece
‘Things that upset you are fuel to take you through a story’
