Reviews
Biennale Report: The Venice Biennale Celebrates the Feminine Surreal
Review: Soprano Sondra Radvanovsky Brings Back ‘Medea’ With Vengeance
Review: Memory Plays Are Huge in Theater Right Now but “The Memory Exam” May Be Easy to Forget
Double Fair Report: The Armory Show and Art on Paper Pack a Punch in 2022
Bambi, the Saddest Tale Ever Told, Returns to Print Eighty Years After Disney Film
‘Beast’ Is a Waste of Time and Idris Elba
Review: Aicon Gallery Presents Colorful Victor Ekpuk and Natvar Bhavsar’s Pigments in Parallel Exhibitions
In a Thriller About the Dark Side of Capitalism, Aubrey Plaza Shines as ‘Emily the Criminal’
Review: Author Kathleen Hale’s ‘Slenderman’ Skillfully Takes on a Teen Creepy-Pasta Inspired Murder Case
Review: Artist Portia Munson Takes on Modern Feminism at PPOW Gallery
‘Bullet Train’ Might Be the Worst Movie Ever Made
Review: Robert Icke’s ‘Oresteia’ Skillfully Brings Greek Tragedy to Today’s Crises
Review: ‘The Haunting of Hajji Hotak’ Is a Surreal Gamified Tale of the Occupation of Afghanistan
Review: A Weak Adaptation of a Rapidly Aging ‘The Kite Runner’ at Hayes Theater
Review: Acclaimed Francophone Musical ‘Notre Dame de Paris’ Premieres in New York City
Review: Graphic Novelist Alex Graham’s ‘Dog Biscuits’ Masters the Art of Covid Fiction
Lesley Manville Triumphs in Heart-Warming ‘Mrs. Harris Goes to Paris’
Review: The Explosive Production of ‘White on White’ Teaches Audiences How to Accept Being Uncomfortable
Review: Danai Gurira Carves a Bloody Path Through an Otherwise Lacking ‘Richard III’
