Sunday, March 8, 2015
Peter Morgan’s history-skimming chat show about a monarch and her prime ministers is about as close as most of us are going to get to a cozy tête-à-tête with Queen Elizabeth II.
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In his Broadway debut as an actor and playwright, Mr. David plays a character not unlike his TV persona who gathers with his family at his father’s deathbed.
SOURCE: The New York Times Subscription at 10:00PMWednesday, March 4, 2015
Sunday, March 1, 2015
Friday, February 27, 2015
In Christina Masciotti’s play at the Bushwick Starr, a retired Pennsylvania pretzel-factory worker talks just to hear herself talk, even though she’s deaf.
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This coruscating play, restaged at the Polonsky Shakespeare Center, is a modern examination of a slave-era melodrama.
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Monday, February 23, 2015
Rage infuses this Labyrinth Theater Company production, about a woman with a love of reading and her gun who returns to her impoverished New England home.
SOURCE: The New York Times Subscription at 10:00PMTina Landau’s frenzied revival of Charles Mee’s 2000 play about sisters betrothed by contract to cousins is at the Pershing Square Signature Center.
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The play, “All Our Happy Days Are Stupid,” features a fanciful set that includes the Eiffel Tower, sidewalk cafes and hotel rooms.
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Gob Squad, a media-mixing British-German arts collective, poses the big and not-so-big questions of contemporary civilization in this show.
SOURCE: The New York Times Subscription at 04:58PMIf new Broadway and Off Broadway offerings are any indication, the road to amour is paved with politics, prejudice and the straitjacket of tradition.
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Lin-Manuel Miranda’s independent-minded new musical presents the 18th-century tale of Alexander Hamilton via hip-hop and R&B ballads.
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The Scottish dramatist David Greig has written a solemn and searching work about a faith-shattering act of violence.
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Stephen Adly Guirgis’s play, which opened at the Atlantic Theater Company in August, reopened at Second Stage’s Tony Kiser Theater.
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“Three Winters,” a time-traveling tale about a Croatian family, and “The Changeling,” a revenge tragedy performed in candlelight, are expressly theatrical endeavors, fully realized h…
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“Between Riverside and Crazy,” a constantly surprising play by Stephen Adly Guirgis, returns to New York.
SOURCE: The New York Times Subscription at 01:27PMTwo plays mirror the news, as reflections on the Holocaust and the persistence of anti-Semitism in Europe have surfaced frequently in print and on the web.
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“Liberian Girl,” a debut play by Diana Nneka Atuona, forces its audience to confront a violent coming of age.
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In just a few days Ben Brantley sampled a rainbow spectrum of comedies, “My Night With Reg,” “The Play That Goes Wrong,” “The Ruling Class” and “Golem.”
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The playwright’s first new stage production in nine years provides a lot of food for thought on the murkiness of a chaotic universe.
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“King Charles III” and “The Ruling Class,” both playing in the West End, are responses to Britain’s enduringly ambivalent obsession with its aristocracy and royal family.
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The innocently murderous child at the heart of “Let the Right One In” is nothing like the beautiful It vampires who slither across screens in movies like the “Twilight” series.
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Thursday, January 15, 2015
The course of true love runs on parallel roller-coaster tracks in the new Broadway musical “Honeymoon in Vegas,” starring Tony Danza.
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Using projected scenes from Marlon Brando films, a Spanish performance group deconstructs the 2008 economic crisis.
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“Constellations,” starring a perfectly matched Jake Gyllenhaal and Ruth Wilson, may be the most sophisticated date play Broadway has seen.
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Tina Satter’s “Ancient Lives” sort of follows the format of Grimm’s fairy tales, but don’t expect to find Rapunzel and Cinderella and their respective princes in residence.
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Target Margin Theater’s “Reread Another,” an adaptation of a 1921 play by Gertrude Stein, finds the fun — and the meaning — in Stein’s seeming nonsense.
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Two productions in the Under the Radar festival, “Cineastas” and “O Jardim,” consider the gulf between images and the truths they obscure.
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“Sorry Robot” at the New Ohio Theater is a gleeful, ramshackle tale of a not-too-distant future in which machines are both our best friends and mortal enemies.
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