I had read “Death of a Salesman” the way everyone reads it in school. I had never seen it as a father. That, it turns out, changes everything.
Theater
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You can see ‘The Saviors’ and maintain your faith—both in God and the power of theater
Though piercing doubts and discontents surface in “The Saviors,” one never gets the sense that the playwright has an anti-clerical axe to grind.
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‘Death of a Salesman’ is a bold critique of capitalism. It’s as timely as ever.
Arthur Miller may not have been a religious man, but “Death of a Salesman” suggests that he believes in the holiness of human beings.
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‘Dog Day Afternoon’: Stephen Adly Guirgis revisits the iconic 1975 film
A single-set hostage drama needs to feel like a pressure cooker, but this “Dog Day Afternoon” has a comedic, almost casual tone throughout.
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Separating the art from the artist? Broadway’s ‘Giant’ wrestles with Roald Dahl’s antisemitism
The tragedy of Dahl’s antisemitism isn’t that it colored his art but that it clouded his vision and tainted his outrage.
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In ‘Every Brilliant Thing,’ Daniel Radcliffe embraces the sacramentality of small pleasures
On the list of things that make my life worth living, I can now gladly add the experience of seeing “Every Brilliant Thing.”
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‘Liberation’ on Broadway jokes its way into hard truths about feminism
“Liberation” is, really, a play of ideas and argument, in the tradition of George Bernard Shaw or Tony Kushner.
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In ‘Ragtime,’ the idea of a just, multiracial America is tragically incomplete
A new revival of ‘Ragtime’ plays like a dead-serious fable.
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Why ‘Waiting for Godot’ is worth reviving—with Keanu Reeves and Alex Winter
This “Godot” is more brisk and playful than most, with one irresistible (if inadvisable) “Bill & Ted” reference.
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‘Saturday Church’ and ‘The Brothers Size’: Stories of Black queer spirituality
For queer Christians of any race, the church has too often felt not like a loving home but rather a house of judgment.