In a new musical about Michael Jackson, the rote excellence of Myles Frost’s performance doesn’t quite add anything to our understanding of the real Jackson.
Dominique Morisseau’s new play, set in a Detroit automotive plant, is, among other things, about the subtle and ever-shifting class distinctions among Black people.
In Lynn Nottage’s new play, characters’ life stories come between slapstick riffs on sandwich-making; Alice Childress’s 1955 play makes its much belated Broadway début.
In Simon Stephens’s dreamily extended riff, Edie Falco plays a woman whose life is dramatic but unsung, the kind that never makes headlines but is nonetheless dense with incident.
