![From left, Sydney Farley, Jasmine Forsberg, Emerson Mae Smith, Lena Skeele, Tatiana Wechsler and Amina Faye in Two River Theater’s premiere of “Love in Hate Nation.”](https://webarchive.library.unt.edu/web/20191119225043im_/https://static01.nyt.com/images/2019/11/18/arts/18love-hate/merlin_164613894_7c7c3200-84d9-4cf5-989e-e610fb4f2db2-videoLarge.jpg)
Review: In ‘Love in Hate Nation,’ the Revolution Will Not Be Scrutinized
Joe Iconis’s new musical celebrates women’s prison flicks and girl group harmonies. But his teen rebels could use a cause.
By
Advertisement
Supported by
Joe Iconis’s new musical celebrates women’s prison flicks and girl group harmonies. But his teen rebels could use a cause.
By
Two plays based on the autobiographical novels of Édouard Louis put the problem of violence against gay men in a larger social context.
By
Breadth doesn’t always equal depth in Matthew Lopez’s supersize, vividly painted portrait of gay life in the 21st century, featuring E.M. Forster as a spirit guide.
By
A critic who once resisted the charms of this holiday clownfest found herself floating on happiness this time around.
By
The drama, set in a British pub owned by a onetime executioner, won the 2016 Olivier Award for best new play.
By
An immersive play crossed with an art installation offers sharp angles on race and white supremacy, but is dampened by didactism.
By
City Center’s gala production of the 1979 Broadway musical gives our favorite fascist enabler a feminist makeover.
By
“Fefu and Her Friends,” perhaps the finest work of the Cuban-American director and playwright María Irene Fornés, is finally getting a New York revival.
By
The Broadway production of “A Christmas Carol,” following the lead from London, answers a strong yes. Other theaters may follow suit.
By
Advertisement
Advertisement
Advertisement