Sara Holdren is a theater critic at New York magazine and Vulture. She specializes in the arts and entertainment sector, with a particular focus on theater, plays, and musicals, while also addressing themes of animal cruelty and the treatment of animals in the arts. Sara's work has been featured in Magzter, The New York Times, Vulture, and Playbill.
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Shakespeare plays go through phases, like the moon. Or maybe they break out like rashes.
It doesn't take long to figure out that there's something not right in The Receptionist . At the start of Adam Bock's 2007 play — now in a revival
“Praise be the wrecking ball,” sings Kenita Miller at the start of Animal Wisdom , a spiritual autobiography tucked inside a requiem mass mixed with
First performed a decade ago by the composer-playwright (and MacArthur Genius) herself, this spectacular piece is now embodied by Kenita Miller.
In Eliana Theologides Rodriguez’s play, fathers who don’t really understand their daughters still try to do right by them.
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.
