Review: Does Andrew Lloyd Webber’s Bad Cinderella Live Up to Its Name?
Review: In Sancocho, Two Sisters Stew Over the Legacy of Their Dying Father
Review: Judy Gold's Yes, I Can Say That! Is an Unflinching Defense of Free Speech
Review: The Lonely Few Cranks Out Its Story Like a Decibel-Pounding Concert
Review: Arinzé Kene’s Misty Decries Gentrification in the Mouth of the Lion
Review: Radical Access Takes Center Stage in Ryan J. Haddad’s Dark Disabled Stories
Review: A Doll’s House in Black and White With Jessica Chastain
Review: Pericles, Shakespeare’s Very Happy Ending
Review: Crumbs From the Table of Joy Looks at One Black Family’s Experience of the 1950s
Review: You Didn’t Know You Kneaded the West End’s Great British Bake Off Musical
Review: Hercules Takes Another Step on Its Hero’s Journey at Paper Mill Playhouse
Review: Public Obscenities Keeps It Mostly Private
Review: Siblings Are Rooted to the Ground in Agnes Borinsky’s Surrealist The Trees
Review: In The Best We Could (A Family Tragedy), Life Is a Road Trip With a Foregone Conclusion 
Review: The Homeless Wait for More Than Just Shelter From the Cold in Love
Review: The Tattooed Lady Fails to Leave Much of a Mark
Review: My Broken Language Is Quiara Alegría Hudes’s Family Love Letter
Review: Good Enemy, Immigrant Parents, and the Luxury of Forgetting
Review: You Will Get Sick Is a Buddy Comedy About Terminal Illness 
Review: Only Gold Glitters as a Vibrant Ode to the Expressiveness of Dance
Review: Body Through Which the Dream Flows and the Power Politics in Competitive Gymnastics
Review: A Look at Four Girls' Lives Before the Salem Witch Trials in The Good John Proctor
Review: In Rough Trade, Gay Millennials Look Toward Middle Age and Shudder
Review: Broadway Revival of Dancin' Knows Fosse's Steps but Lacks His Vibe