The National Catholic Review

Theater

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  • American theater has nothing to prove on the world stage; the 20th century saw to that. After languishing in the shadow of its European forebears, our young country’s theater had a definitive flowering in the so-called American century, as playwrights found a native language in the nation’s bustling vitality and heedless striving, common pleasures and modern anxieties. From Arthur Miller to August Wilson, we had playwrights not only worthy of our national dialogue but who are able...

  • June 20-27, 2016

    Hell hath no fury like a woman scorned, William Congreve once (almost) wrote, but on Broadway currently, it is young women, especially, whose spurning reaps a virtual whirlwind. In two productions—a revival of Arthur Miller’s 1953 classic The Crucible, and a 2005 play called Blackbird by Scottish playwright David Harrower—intimate transgressions among unevenly consenting partners have world-shattering consequences. And while both plays ultimately generate more heat than light...

  • April 18, 2016

    The playwright Danai Gurira so assiduously resists the easy binaries that might seem inevitable in her work—African versus American, white versus black, colonialism versus nationalism—that it almost feels like a disservice to harp on the sharp contrasts between the two fine plays she recently has run on New York stages. But the contrasts are there, and they are striking. If you happened to walk from a matinee of Eclipsed —her searing drama about Liberia at...

  • February 29, 2016

    Apart from tales of the incarnation in the person of Jesus, God makes few appearances in our drama. God’s appearances on stage often are as the subject of a debate or a presence who acts and speaks through others. In this context, God becomes a kind of backstory and the ultimate existential answer to the oft-parodied actor’s question, “What’s my motivation?”

    In two current Broadway musical revivals, God is also the ultimate...

  • January 4-11, 2016

    The Belgian-born, Dutch-based theater director Ivo van Hove has become something of a New York fixture in the last few decades, in large part for his stark, cobweb-clearing, Off-Broadway stagings of classics by Tennessee Williams, Eugene O’Neill, Henrik Ibsen, and Molière. For many critics and audiences, van Hove’s work is an irresistible mix of European Regietheater —the practice by which continental directors radically rethink classics with scant regard...

  • A. R. Gurney is one of our most prolific playwrights. At age 85, he has had more than 50 of his plays produced with critical and audience acclaim, almost always in Off-Broadway and regional theaters. His specialty is the depiction of the upper-class WASP family, with its repressed emotions and its imminent doom, on display in works like “The Cocktail Hour,” “Love Letters” and others.

    This fall a revival of Sylvia finally made it to Broadway. (The play, now showing at the Cort Theatre, first...

  • November 23, 2015

    The social-conservative notion that the family is the basic unit of society is uncannily mirrored by the common leftist and feminist critique of the family as a factory for authoritarian values—a basic unit, all right, but of a corrupt and joyless social order. You can sometimes hear a similar complaint about American playwriting: that it keeps returning, like an aimless adult child who never moves out, to the family as a default template for drama. From...

  • November 2, 2015

    While some studies have described church attendance as declining in this country, the same cannot be said for attendance at the shrines and temples of the theater, on Broadway and off; and many of the productions that people have flocked to have not shied away from religious themes. Matt Stone and Trey Parker’s mega-hit “The Book of Mormon” opened more than four years ago, won an abundance of awards and still plays to packed houses of theatergoers willing to...

  • October 19, 2015

    The term “deaf musical” may sound like an especially odd oxymoron, but for those who have been paying attention, it has become something of a miraculous hybrid art form unto itself, developed over the past 15 years by the small Los Angeles company Deaf West Theatre. In their groundbreaking staging of the Huck Finn musical “Big River” in 2001, which made its way triumphantly to Broadway in 2003, a mixed cast of deaf and hearing performers fused sign language...

  • Ten years ago, poet, playwright and performer Michael Mack Googled the name of the priest who had sexually abused him decades earlier when he was an 11-years-old boy living in North Carolina. He found out his abuser was alive and living in Worcester, Mass., not too far from where Mack lived in Boston. After years of holding imaginary conversations with the priest who had molested him, Mack decided to seek him out to have a real one. What followed is the subject of “Conversations with My...