Sara Holdren is a theater critic at New York magazine and Vulture. She specializes in the arts and entertainment sector, with a focus on plays and musicals. Sara's insights and reviews have also been featured in Magzter, The New York Times, Vulture, Playbill, and MSN.
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If Eliana Theologides Rodriguez isn't in conscious conversation with certain plays and playwrights in her own immediate theatrical family tree — call
In the early '60s, the great scenic designer Ming Cho Lee was just starting to put his stamp on American stages, and he made some of his most
Xhloe & Natasha and Todd Almond’s Fringe imports, plus a bracing dose of anti-McCarthyism at City Center.
Two powerful new works trace the way we grow up and draw closer — or come apart.
Illustration: New York Magazine Shakespeare comes with a lot of baggage. He's big, he's white, he's dead, he wrote in an English that's not our own, and, oh, yeah, he's still The Best.
Daniel Sullivan’s Shakespeare in the Park production is smooth and well-executed but rarely urgent.
I don't know what Shakespeare did — or if he did anything more than live a life with the usual collateral damage — but his late plays make it clear
I don't know what Shakespeare did — or if he did anything more than live a life with the usual collateral damage — but his late plays make it clear
Including Julia Louis-Dreyfus's Broadway debut and the return of Spring Awakening
Including Julia Louis-Dreyfus’s Broadway debut and the return of Spring Awakening and In the Heights.
