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Reviews
Puccini’s ‘Tosca’ is melodramatic and moving
Amir Abou-Jaoude
•
Oct. 25, 2018
‘Romeo and Juliet’ Is NOT a Love Story: CHANGE MY MIND!
Mark York
•
Oct. 25, 2018
“Studio 54” is a study of an (in)famous 70s nightclub
Simone Zhu
•
Oct. 24, 2018
‘Reader, Come Home’ discusses the difficulty of staying literate
Scott Stevens
•
Oct. 24, 2018
Dietrich is an extraordinary actress in ‘The Scarlet Empress’
Amir Abou-Jaoude
•
Oct. 23, 2018
‘2001: A Space Odyssey’ is a bizarre, epic journey
Noah Howard
•
Oct. 22, 2018
Drake combines success with social media spectacle
Jacob Kuppermann
•
Oct. 22, 2018
TheatreWorks’ ‘Fun Home’ is good but never quite gets there
Olivia Popp
•
Oct. 20, 2018
‘The Guilty’ delivers thrills from behind a telephone
Grace Zhou
•
Oct. 19, 2018
National tour of ‘Waitress’ cooks up a new Broadway classic
Olivia Popp
•
Oct. 19, 2018
‘First Man’ flies high
Hayley Hodson
•
Oct. 17, 2018
New York Minute: Exploring love, memory and loss in ‘The Things That Were There’
Alli Cruz
•
Oct. 17, 2018
Bradley Cooper critiques show business in ‘A Star Is Born’
Amir Abou-Jaoude
•
Oct. 15, 2018
Satyajit Ray muses on movies and money in ‘The Hero’
Amir Abou-Jaoude
•
Oct. 12, 2018
New York Minute: CRASH Theater Co.’s ‘TaRaRaBOOM’ explodes with absurdity and modernity
Alli Cruz
•
Oct. 12, 2018
‘On Your Feet!’ contains romping celebration of Cuban and Latinx artistry
Olivia Popp
•
Oct. 11, 2018
Powell and Pressburger portray two wonderful worlds in ‘A Matter of Life and Death’
Amir Abou-Jaoude
•
Oct. 9, 2018
‘Dystopian Dream’ is an aggressively digestible dance piece
Olivia Popp
•
Oct. 9, 2018
In ‘The Awful Truth,’ McCarey crafts a comedy about class
Amir Abou-Jaoude
•
Oct. 8, 2018
In ‘El Sur,’ Victor Erice contemplates childhood
Amir Abou-Jaoude
•
Oct. 5, 2018
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