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The Chronicle Review

Previous Articles on Theater

The Performance Art of Itamar Moses (4/18/2008)
The Playwright as Anthropologist, Observing the Professoriate (11/23/2007)
Sarah Ruhl's Whimsical Hauntings (7/20/2007)
An Awakening for Broadway? (6/1/2007)
Eugene O'Neill's America (5/4/2007)
Personal Politics in the Plays of David Hare (12/15/2006)
Stoppard's Revolutionary Thinking (11/17/2006)
Ibsen's Relevance and Influence Endure (9/22/2006)
On the Stage, History Belittled (9/1/2006)
Caryl Churchill's Identity Crises (5/26/2006)
A Fetish for Alienation (5/5/2006)
Wendy Wasserstein (1950-2006) (2/17/2006)
Queer Eye For The Big Sky (11/11/2005)
Pinter's Plays, Pinter's Politics (11/11/2005)
'Measure for Measure,' Production for Production (9/3/2004)
Shakespeare's Henriad in an Era of Regime Change (12/19/2003)
Art and Betrayal (4/25/2003)
Hellman and McCarthy: Parallels and Crossings (12/13/2002)
A Crotchety Benedict Arnold (12/6/2002)
High Seriousness, High Comedy (6/28/2002)
Stephen Sondheim: Exploring Our Myths (5/10/2002)
Seduced? No, Just Abandoned (5/3/2002)
Quantum Reflections (4/26/2002)
Pale Fire of a New 'Crucible' (3/29/2002)
Edward Albee Finds a New Audience, or It Finds Him (3/22/2002)
The Tricky Art of the Dark Musical (2/8/2002)
On Screen, On Stage: the Double Virtuosity of Andrew Bovel (2/1/2002)
'Homebody/Kabul': Overtaken by History (1/18/2002)
Brustein: Center Stage for Better and Worse (9/21/2001)
The Great Weill Way (7/27/2001)
A Good Director Doesn't Need a Dramaturg (6/29/2001)
When Plays Touch on History, What Is Truth? (6/1/2001)
To Be Effective, Historical Drama Must Bring the Point Home (12/8/2000)
On Prospero's Island, Deaf and Hearing Students Learn to Act Together (7/14/2000)
There's No Revolution Afoot in American Musical Theater (6/30/2000)
Uncertainty Is Certain in Mathematics and Life (6/23/2000)
Frayn's 'Copenhagen' Plays Well, at History's Expense (5/5/2000)
The Art of Making Theater: 2 Views (3/3/2000)
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