Journalism
I'm a full-time critic at large at the New York Times. My main beat is theater; I write features and review Broadway, off-Broadway and off-off-Broadway shows in New York, as well as in other cities here and abroad. I also write about movies, television and nerd culture. My work has appeared in The New York Times, The New Yorker, Slate, The Week, Vulture, Polygon, American Theatre, American Poets, Mashable, EDGE, Black Nerd Problems, The New York Amsterdam News, Elmore Magazine, Chelsea Now, Dig Boston and Improper Bostonian, among others. I was the inaugural New York Times arts critic fellow and the 2020-2021 recipient of Cornell University’s George Jean Nathan Award for Dramatic Criticism.
You can check out a sampling of my work below.
The New York Times Style Magazine
August Wilson, American Bard (2020)
The New York Times
”A Strange Loop” Review: A Dazzling Ride on a Mental Merry-Go-Round (2022)
The New York Times
“Spider-Man: Across the Spider-Verse” Review: Worlds Wide Web (2023)
The New York Times
”Fat Ham” Review: Dismantling Shakespeare to Liberate a Gay Black “Hamlet” (2022)
The New York Times
”Guardians of the Galaxy Vol. 3” Review: Raccoon Tears and a Final Mixtape (2023)
The New York Times
Lost in 2020: Epic Shakespeare, and the Theater That Planned It (2020)
The New York Times
The Unintended Racial Horror of ‘Lovecraft Country’ (2020)
The New York Times
The Antihero’s Last Gasp (2022)
The New Yorker
How “Neon Genesis Evangelion” Reimagined Our Relationship to Machines (2019)
The New York Times
Review: A Bracing Trial by Zoom in “State vs. Natasha Banina” (2020)
The Week
How The Magicians Dispels the Magic of the Singular Hero (2019)
The New York Times
”Spirited” Review: A Whole Lot of Humbug (2022)
The New York Times
”The Patient Gloria” Review: A Theatrical Remedy for Toxic Therapy (2022)
American Theatre
Black Bodies, White Writers: On the Crushing Homogeneity of Theatre Criticism (2017)
Mashable
Why the World of Wakanda Is So Necessary Today (2018)
The New Yorker
“The Black Clown” Beautifully Reconfigures a Langston Hughes Poem (2019)