What does survival demand of those who return—and of those who helped bring them home?
‘Aphasia’ begins with an act of listening.
‘The Bald Soprano’ begins with the reassuring familiarity of a British couple chatting at home—and then gleefully dismantles every expectation.
Press describes itself as “a production company against apathy,” and its staging of Myles Keogh’s ‘Wolf!’ delivers on that mission with unnerving force.
What if dogs could finally tell us what they think of us?
‘Thomas & Me’ succeeds because Thomas Ellenson refuses to let cerebral palsy define either his life or his art.
Can mediums truly speak with the dead, or are they con artists preying on the grieving at their most vulnerable?
If you want a clear plot, conventional heroes and villains, or an evening free of disturbing material, ‘Les Enfants Terribles’ at East Village Basement is not the play for you.
How can an actor make an audience care about a character who speaks with a ghost, is consumed by his mother’s remarriage, helps drive the woman he loves toward suicide, and kills three men—two of them unarmed? ‘Becoming Hamlet’ answers this by removing the distance between spectator and prince: the audience does not merely observe Hamlet’s turmoil but assumes its many dimensions.