Voices
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Rob Weinert-Kendt, an arts journalist and editor of American Theatre magazine, has written for The New York Times and Time Out New York. He writes a blog called The Wicked Stage.
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Can I get an amen?
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For theater fans, the arrival of a new Annie Baker play is cause for celebration.
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Two new Broadway productions offer case studies in brand extension and fan service.
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The ambitions of these two comedies could hardly be more disparate, yet the craft employed in both is rooted in similarly precise calibrations of our attention and sympathies.
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Three strong new revivals offer an instructive comparative lens through which to view the form’s development over the decades.
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A lovingly crafted new revival of “The Sign in Sidney Brustein’s Window” at the Brooklyn Academy of Music makes a fresh case for reconsideration of Lorraine Hansberry's less well-known second play, which followed the classic “A Raisin in the Sun.”
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As ever, Stephen Adly Guirgis writes hilarious, profane dialogue and puts his characters in contention over matters both petty and portentous.
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‘Death of a Salesman,’ ‘The Piano Lesson’ and ‘A Raisin in the Sun’ showcase the strivings for Black economic independence and self-determination.
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While Lin-Manuel Miranda’s popular Founding Fathers remix was built for performers of color, “1776” has been retrofitted onto this troupe of talented women.
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“Corsicana,” named for the small Texas city in which it is set, is odd and stiff—qualities that are only exacerbated by director Sam Gold’s spare, often awkwardly formal staging.