Eric A. Gordon: It’s a hoot and a holler—with a costume change every few seconds, it would seem—that overtly or subversively bridges just about every gap in American culture.
Eric A. Gordon: The roots of reproductive justice are explored in The Lord of the Underworld’s Home for Unwed Mothers, a poetically pro-woman play by Louisa Hill now receiving its world premiere production at the Skylight Theatre Company.
Eric A. Gordon: What writer and director Danièle Thompson focuses on in her new work Cézanne et moi (Cézanne and Me) is the almost lifelong friendship Zola shared with the painter Paul Cézanne.
Eric A. Gordon: The Cruise seems to be part of a trend: Playwrights trying to capture the Zeitgeist are dissecting the current mood of young people’s confusion about goals in life and purpose in work.
Eric A. Gordon: It’s hilarious, partly because we’re hit with all the familiar comforting tropes about the thoughtful, patient, no-drama president versus the boorish, tasteless ogre who pulled off a historic upset.