Natural Affection

William Inge's 1963 flop gets a rare revival from the TACT company. It's a fascinating project, if not quite as good as I'd hoped it would be. My review's here.

The Glass Menagerie

Was it a case of overly heightened expectations? John Tiffany's revival of The Glass Menagerie is good but not mind-blowingly revelatory. I actually preferred the 2011 one from the Roundabout, with Judith Ivey. Click here for my review.

Arguendo

Elevator Repair Service strikes back with Arguendo, the verbatim reenactment of a 1991 Supreme Court case. Click here for my review.

Philip Goes Forth

The Mint company unearths another half-forgotten — ok, completely forgotten — nugget with Philip Goes Forth. Click here for my review.

Romeo and Juliet

After each performance excited throngs wait outside the theater to see Orlando Bloom. If only what happens during the show was as feverish… My review of this dud is here.

The Blue Dragon

Robert Lepage returns sotto voce with -- and in -- The Blue Dragon at BAM. My review's here.

Women or Nothing

Great title for Ethan Coen's latest at the Atlantic, and great team too: David Cromer, Halley Feiffer, Susan Pourfar... The play's his best so far too, if you don't pay close attention to the plot holes and forced coincidences. My review's here.

Mr. Burns, a Post-Electric Play

Anne Washburn's Mr. Burns, a Post-Electric Play is one of the most thrilling shows I've seen in ages. Note: You don't need to have seen the Simpsons episode Cape Feare to appreciate the play, but it does add a whole new level of enjoyment. Click here for my rave.

Preview of Anna Nicole

I'm really looking forward to Anna Nicole, which starts at its BAMrun on Tuesday. Here's the preview I wrote for the Post.

Fetch Clay, Make Man

Des McAnuff did a terrific job directing Fetch Clay, Make Man: This is quite the stylish, kinetic show. Add a sterling performance from K. Todd Freeman as Stepin Fetchit (!) and you're in business. My review's here.

The Old Friends

Yet another Horton Foote play (directed, again, by Michael Wilson) ends up on our shores. I won't complain, not when it boasts Betty Buckley, Veanne Cox, Lois Smith and Hallie Foote at the top of their game. Click here for my review.

Stop. Reset.

Wow, Regina Taylor's new play at Signature is kind of a mess! At least it was a lot cheaper to put on than The Machine. My review's here.

The Machine

If you want to experience a colossal waste of time and money live, simply check out The Machine at the Park Avenue Armory. Or don't. My review's here.

The Hatmaker's Wife

The Hatmaker's Wife pushed all my buttons, and not in a good way. So much whimsy, it made Amélie feel like Pulp Fiction. Click here for my review.

The Hill Town Plays

Reviewing five shows in 550 words isn't easy, but that's what I had to do with Lucy Thurber's Hill Town Plays. In a nutshell: I'm not sure presenting these works together did them a favor. Click here for the review.

Everything Is Ours

Nikole Beckwith's surreal little comedy, Everything Is Ours, gets a good production from Adrienne Campbell-Holt's rising Colt Coeur company. It's nice to see a young playwright step away from grinding naturalism for a change. My review's here.