Review: A Dirge for Wilting Salad Days in ‘This Ain’t No Disco’
This tone-deaf rock-opera remembrance of the twilight of Studio 54 features characters named Steve Rubell and The Artist. (Psst! That’s Andy Warhol.)
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This tone-deaf rock-opera remembrance of the twilight of Studio 54 features characters named Steve Rubell and The Artist. (Psst! That’s Andy Warhol.)
By BEN BRANTLEY
In Young Jean Lee’s smart, thorny play, two brothers (Armie Hammer and Josh Charles) urge a third (Paul Schneider) to own his male prerogatives.
By JESSE GREEN
The creators of “Don’t Bother Me, I Can’t Cope” took their bighearted revue all the way to Broadway. A concert production will show how it plays today.
By ERIC GRODE
But, racing through 40 classic Leiber and Stoller songs in 90 intermission-less minutes, the show only occasionally slows down enough to breathe.
By LAURA COLLINS-HUGHES
A show set inside a smartphone is silly yet surprisingly resonant with contemporary politics.
By LAURA COLLINS-HUGHES
An hour north of New York City, a new production of Shakespeare’s impossible comedy finds a sensible way to respond to the #MeToo moment.
By JESSE GREEN
The director Robert Lepage, recently criticized for cultural appropriation, finds in Shakespeare’s tragedy a defense of Great Man prerogatives.
By JESSE GREEN
A new rock opera explores the New York club scene in 1979, with special attention to the Mudd Club, a punk-rock dive in TriBeCa.
By JIM FARBER
Despite some eye-catching dramatics, the paucity of female directors and protagonists at the most important event in the French theater calendar sticks out.
By LAURA CAPPELLE