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‘N/A’ Review: For Nancy Pelosi and A.O.C., It’s a House Divided
Is moral leadership possible without parliamentary power? Two very familiar congresswomen battle it out onstage.
By Jesse Green
I write reviews of Broadway, Off Broadway, Off Off Broadway, regional and sometimes international productions, looking especially for work that exemplifies theater as a living art in conversation with society. Or as an opportunity to forget about that and laugh. I also write occasional features on the state of the industry and its notable practitioners.
I played Will Parker, Cliff Bradshaw and Prince Dauntless in high school musical productions. I studied theater and English in college, and after moving to New York City worked as an apprentice to the director Hal Prince, a gofer for the composer John Kander (helping him locate and recreate the score for one of his musicals) and a copyist and music coordinator on various local and touring shows. I switched to journalism around 1988 and eventually found a way to merge my interests by writing about the theater (among many other subjects) and, later, writing reviews. Also books, most recently “Shy,” with and about the composer Mary Rodgers.
I do not review productions in which anyone I know well or consider a friend has any significant role. I also do not write feature articles about people whose work I will soon be reviewing. In keeping with the standards of integrity outlined in our Ethical Journalism Handbook, which all Times journalists are committed to upholding, I do not serve on prize juries, attend galas, donate to theater companies, write blurbs for books in my field or offer even casual guidance to people who ask me to criticize their work privately. I am basically no use to anyone.
I read everything sent to me by email even though I cannot always respond.
Email: [email protected]
Is moral leadership possible without parliamentary power? Two very familiar congresswomen battle it out onstage.
By Jesse Green
Elevator Repair Service’s staged reading of the huge James Joyce novel retains much of its humor, pathos and bawdiness.
By Jesse Green
Resetting the “Memory” musical in the world of ballroom competitions makes for a joyful reincarnation.
By Jesse Green
A play from Denmark, with a South African cast, turns the heroic tropes of horse operas into the tools of tragedy at St. Ann’s Warehouse in Brooklyn.
By Jesse Green
This was featured in live coverage.
By Jesse Green
“Hell’s Kitchen,” “Stereophonic” and others are up for top prizes at Sunday’s ceremony. Our critic takes stock of their cast albums, all available now.
By Jesse Green
Maury Yeston’s score, stupendously played and sung, is the star of the final production of an excellent Encores! season at New York City Center.
By Jesse Green
Samm-Art Williams’s 1979 play about the uprooting of a Black farmer returns to Broadway for the first time.
By Jesse Green
Maggie Siff plays a war journalist facing the most dangerous assignment of her life: domesticity.
By Jesse Green
It’s open mic at the post-pandemic cocktail bar where Dave Malloy’s hypnotic triptych of monodramas takes place.
By Jesse Green