David Cote is a critic and reporter at Observer. He specializes in arts and entertainment, with a focus on theater, plays and musicals, pop culture, and cultural movements. His work has been featured in The A.V. Club, Playbill, Wiley, The Washington Post, and Village Voice.
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New York, United States (Local)
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David Cote is a critic who primarily writes reviews, particularly for theater productions. He focuses on providing critiques of various shows and performances, with a heavy emphasis on the theatrical arts.
Given his extensive coverage of theater-related topics, he may welcome pitches from individuals involved in the theater industry or those able to provide unique perspectives related to specific plays or musicals. If you have insights into noteworthy productions or trends within the world of theater, these would likely be valuable contributions for David's articles.
Considering that David doesn't have a specified geographic focus but operates out of New York City, he might be especially interested in local productions and events occurring within this area.
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Right off, Tarell Alvin McCraney draws the ancient distinction between the vita activa and the vita contemplativa: the active versus contemplative life.
Yasmina Reza’s 1998 comedy abounds in witty chuckles and elegant structure, but it remains a slight boulevard comedy: three self-obsessed Frenchmen bickering over a pricey painting.
Fans of Bill & Ted’s Excellent Adventure registered delight throughout the Hudson Theatre. Bogus? Not a jot.
By: David Cote
The schlock-gothic Andrew Lloyd Webber megahit returns to keep Phans on their toes. For the rest of us, this immersive production is neither fun nor emotionally resonant.
By: David Cote
This sci-fi drama is the vehicle for 96-year-old June Squibb's spirited return to Broadway.
This production leans heavily on Williams to humanize a century-old script whose language can feel insistently blunt.
What a misguided affair from such an accomplished team.
By: David Cote
A 2017 Village Voice review noted that Shakespeare in the Park delivered a controversial Beltway version of "Julius Caesar."
By: David Cote
The 1933 double homicide that inspired Jean Genet's The Maids began with blinding. Before sisters Christine and Léa Papin bludgeoned and butchered
