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At times it's overwritten, easily distracted and a bit glib, but for what he manages to do, Jeremy O. Harris deserves a standing ovation.
Despite the fact that it keeps you guessing as to what s real or not, this play fails to achieve any dramatic intrigue.
Tears spring to eyes, pauses drag too long, recalling a limp episode of couples therapy.
From the Broadway run of Jeremy O. Harris’ 'Slave Play' to a musical set to Alanis Morissette songs, here's what you should be getting tickets for this fall.
This jukebox musical's title may imply speed and drama, but that's exactly what's lacking in 'Bat Out of Hell.'
The two actors put the world of grief on delicate display in transferring 'Sea Wall/A Life' to Broadway.
Remixed and retooled for Broadway, it turns out 'Moulin Rouge!' has some relevance left after all.
The production deploys a silent film aesthetic and runs July 17–20.
April Matthis is magic as Toni Stone, the first woman to play professional baseball.
In 'A Strange Loop,' identity crisis drives a dense, whirling vortex of satire and self-discovery to dazzling effect.
Indie-pop luminary Regina Spektor is preparing for her debut on the Great White Way.
Despite the serious talent arrayed on both sides of the footlights, one longs for a taste of the mystical rapture the characters seem to be feeling on stage.
Although it drags a bit, this piece about Queen Elizabeth II and Margaret Thatcher boasts humor, excellent acting and staging, and some impressive wigs.
Shakespeare in the Park delivers the freshest and funniest 'Much Ado About Nothing' you've seen yet.
Every American war gets the living-room tragedy it deserves.
Historically, Tony voters reward stars, snobby hits and anything that opened in the spring. What will that mean for this year's unconventional contenders? Here are our predictions.
More than 30 years after its debut, a Broadway revival shows the sexual politics of Terrence McNally's Reagan-era romance to be just as relevant today.
Seeing young women commandeer the weird energy of Shakespeare's 'Macbeth' you realize: gee, these characters seem really insecure about their masculinity.
In his new lyrical chorus, 'Octet,' Dave Malloy probes the inner lives of eight online addicts who meet in a church basement for a program where they find comfort in each other’s stories.
Jesse Eisenberg’s slow-boiling new work layers cringe comedy with moments of pathos.
A revival of 'Curse of the Starving Class' at the Signature Theatre highlights both the punk rock spirit and dated nature of Sam Shepard's work.
Although the piece runs runs a bit long, talented actors and a savvy director get you to care about a clan of cold-blooded capitalists.
It may not be Shakespeare, but this is a savvy and fiercely acted modern revival of John Webster s revenge tragedy.
Between Sam Gold s staging and Glenda Jackson s performance, this production unfortunately falls flat.
Lucas Hnath s fictionalized account of behind-the-scenes maneuvering during the 2008 presidential campaign is tightly written, but it pulls too many punches.
Arthur Miller s play about risking lives in exchange for corporate profiteering has not lost its relevance.
'Ink' focuses on the early days of 'The Sun,' before Murdoch's global news empire profoundly shaped—and coarsened—the world we live in.
In Taylor Mac's new play, an updated take on 'Titus Andronicus,' Nathan Lane plays a street clown who survived the hangman and one day dreams of being called a fool.
The road to 'Hadestown' was paved with good intentions, but the material that was a hit in Anaïs Mitchell’s 2010 concept album drags as a Broadway show.
Michael James Scott has paid his dues for decades; now the super-trouper gets top Broadway billing in 'Aladdin.'
The newest from The Mad Ones, 'Mrs. Murray’s Menagerie' invites us to play sociologists behind the fourth wall, watching a group of parents reveal their biases while discussing children's …