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Kathie Lee Gifford’s musical needs “additional laying-on of hands before it’s ready to ascend,” said Variety. The show has two things right: Evangelist Aimee Semple McPherson was indeed “a fascinating jazz-age prototype of today’s tabloid celebrities,” and Carolee Carmello’s “inspired” performance turns everyone in the theater into a true believer. Unfortunately, Gifford still hasn’t found a focused story to tell.
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Can Trump put his tariffs on stronger legal footing?Today's Big Question Appeals court says 'emergency' tariffs are improper
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Film reviews: The Roses, Splitsville, and TwinlessFeature A happy union devolves into domestic warfare, a couple's open marriage reaps chaos, and an unlikely friendship takes surprising turns
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Thought-provoking podcasts you may have missed this summerThe Week Recommends Check out a true crime binger, a deep-dive into history and more
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If/Thenfeature Tony-winning Idina Menzel “looks and sounds sensational” in a role tailored to her talents.
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Rocky
feature It’s a wonder that this Rocky ever reaches the top of the steps.
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Love and Information
feature Leave it to Caryl Churchill to create a play that “so ingeniously mirrors our age of the splintered attention span.”
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The Bridges of Madison County
feature Jason Robert Brown’s “richly melodic” score is “one of Broadway’s best in the last decade.”
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Outside Mullingar
feature John Patrick Shanley’s “charmer of a play” isn’t for cynics.
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The Night Alive
feature Conor McPherson “has a singular gift for making the ordinary glow with an extra dimension.”
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No Man’s Land
feature The futility of all conversation has been, paradoxically, the subject of “some of the best dialogue ever written.”
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The Commons of Pensacola
feature Stage and screen actress Amanda Peet's playwriting debut is a “witty and affecting” domestic drama.