Christian Lewis — Theater Critic

Though there may be some imperfect elements, it is hard to have anything but praise for this piece. It is clear that the focus was on Parker and Morse's performances, and they so superbly showcase that this play is a masterpiece. How I Learned to Drive is one of those plays, like Fefu and Her Friends or Cloud Nine, that have been canonized, anthologized, and taught in so many drama classes, but are infrequently produced. I felt blessed and honored to get to see it here in person. In fact, we should all feel fortunate to see Vogel's ingenious play on stage and to see it so beautifully performed by the divine Mary-Louise Parker. This play is a gift, and we are lucky to receive it. I hope this begins a trend of much more Vogel, indeed.

The musical features a talented ensemble led by the powerhouse Joaquina Kalukango (as Nellie, the owner of the tavern where the majority of the action takes place) and the nimble A. J. Shively (as Owen, a masterful dancer Irish immigrant terrified of getting drafted). It is chock-full of impressive dance numbers that pair the percussive rhythmic step dances of the Irish and Black communities. The score is catchy (especially the title song), compelling, and feels period-specific (heavily featuring the fiddle) while appealing to a modern musical theater ear. The highlight of the show is without a doubt 'Let it Burn,' Kalukango's 11 o'clock number, which receives a standing ovation and will be canonized alongside the greats like 'I'm Here,' 'Lot's Wife,' and 'Rose's Turn.'

During the shutdown, there was a great deal of conversation about how Broadway needs to change; Pass Over is the embodiment of that change. It is exactly what Broadway needs to be. If we can follow the lead of this production, Broadway can pass over into something different, something better, something more equitable and diverse, something more political. If Broadway is to survive, it must keep up with the times. Pass Over offers a model of how it can do that. It is an extraordinary beacon, a proof that, in Moses' words, 'dis shit's changin now.'

On the basic level, it is different because this time we get two: two short plays, two different actors, two stories. Together they make a fascinating pairing that is equally captivating and devastating. Although they may not share any direct overlap, both stories explore themes of family, love, fatherhood, death, loss, and grief. They are Greek tragedies for the modern age, full of pathos and heart-wrenching prose.

Overall 'Once on this Island' felt more like a song cycle than a musical. Each song felt similar, with chaotic choreography (by Camille A. Brown), excessive amounts of haze, an over-stressed parallel between Ti Moune, her younger self (Mia Williamson), and the doll version of Ti Moune that her younger self carried around, a loud final note from the pit to punctuate the ending, and a dramatic light cue. After a while it felt more like a concert than a work of fiction.

Ayad Akhtar, Puiltzer Prize-winning playwright of 'Disgraced,' has a new drama, 'Junk,' directed by Doug Hughes at the Vivan Beaumont at Lincoln Center. Sadly, this new play cannot compare to his previous hit, which tackled race and religion with such incredible nuance. In 'Junk,' Akhtar explores the financial world of the 1980s, including an aggressive tackover, insider trading, stock manipulation, million dollar investment portfolios, and of course, controversial junk bonds.