“Public Obscenities” Review: The New Yorker

“As a writer, Chowdhury interweaves humor, allusion, gravity, and extended metaphor as if each quality were a musical line, making an integrated symphonic whole…As a director, his greatest talent is how he uses his spectacular cast. Each virtuoso is gorgeously at ease. Along with Infinite Life by Annie Baker and Stereophonic by David Adjmi, Public…Read More »

“Public Obscenities” Review: New York Mag

“Exquisitely crafted…meticulously rendered middle-class Bengali home…dense and detailed…rich and strange. The play’s great poignancy lies in its restraint. The whole ensemble is marvelous.” – Sara Holdren Read more from New York Magazine here. Public Obscenities runs through February 18. Click here to learn more and buy tickets. 

“Public Obscenities” Review: New York Times

“New York Times Critic’s Pick! A confident playwright…successfully writing a bilingual play…who with Public Obscenities, may have found himself on the brink of greatness…uniformly excellent cast…leaves the audience longing for even more.” – Juan A. Ramírez Read more from The New York Times here. Public Obscenities runs through February 18. Click here to learn more and buy tickets. 

“Public Obscenities” Review: The Juggernaut

“Public Obscenities is the most Bengali play…heartwarming, unusual, and astounding.” – Snigdha Sur  Read more from The Juggernaut here. Public Obscenities runs through February 18. Click here to learn more and buy tickets. 

Michael Boyd, 68, Who Invigorated the Royal Shakespeare Company, Dies

Read the full obituary in The New York Times. Michael Boyd, who led the Royal Shakespeare Company as artistic director from 2002 to 2012, a decade in which he stabilized the organization while undertaking ambitious projects including a heralded New York residency and the mounting of the un-Shakespearean hit show “Matilda the Musical,” died on…Read More »

Waiting for Godot Review: Daily Beast

“EXCELLENT PRODUCTION…RIVETING…Michael Shannon and Paul Sparks bring a bracing comedic energy that makes sense of the play’s various absurdities and resonant depth. It’s a rare production that you want to carry on waiting for Godot with Didi and Gogo, but this is one.” Read more from The Daily Beast here. Waiting for Godot is now playing through…Read More »

Prometheus Firebringer Review: New York Magazine

“Prometheus Firebringer is a quietly stunning, brain-jangling piece of work. Dense and yet lucid, somehow both harrowing and playful, the play-lecture takes us along on a series of looping interrogations into how the omnipresence of AI is already rewiring our brains.” Read more from New York Magazine here. Prometheus Firebringer is playing now through October 1. Click…Read More »

Prometheus Firebringer Review: New York Times

“’Prometheus Firebringer’ ask(s) audiences to consider what Dorsen — taking a line from the French philosopher Bernard Stiegler’s ‘The Age of Disruption: Technology and Madness in Computational Capitalism’ (2019) — calls ‘the fundamental ethical question, the question of knowing whether this is the world we want.’” Read more from The New York Times here. Prometheus Firebringer is…Read More »

Orpheus Descending Review: The New York Sun

“The tender side of Tennessee Williams… stage and screen veteran Maggie Siff and Pico Alexander are supported by an excellent ensemble under Erica Schmidt’s unflinching direction in this new production. Maggie Siff gives a performance of sinuous wit and ferocious resolve, showing us the life force that burns beneath Lady’s bitter frustration making her tragic…Read More »

Director Erica Schmidt Interview in Vogue

“A Drama Desk-, Lucille Lortel-, and BAFTA-nominated director and writer of works for stage and screen, Erica Schmidt has an impressive track record of bringing historical works to bear on their contemporary contexts in original and incisive ways. In this powerful and searching production [of Orpheus Descending], starring Maggie Siff and Pico Alexander, the political…Read More »