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Vulnerability doesn't come easily to Eve Ensler. Neither does holding back.
The Connelly Theater, on East Fourth, is an elegant old-style off-Broadway house, with gilded proscenium arch, dramatic red curtain, and ample wing space to store enormous set changes.
The more you like being in a crowded teachers' lounge in the middle of Ohio, the more you'll like Miles for Mary.
Something's happened to Peter Kellogg. . . .
Filial guilt may seem a slender thread on which to hang a whole evening. And it turns out, with The Treasurer, that it is. . . .
Sarah Ruhl, who's usually so eager to provoke and bend rules and tease her audience, has gone mostly naturalistic and presentational with her latest.
This one's a find.
Sherlock Holmes hasn't had an easy time of it on the musical stage.
The sad outweighs the funny in Fulfillment Center, at City Center Stage II at Manhattan Theatre Club, but my gosh, there's plenty of both.
Bella: An American Tall Tale wore me down.
It's called Building the Wall, and yes, the wall referred to is That Wall.
Myriad are the pop-culture references in "Shine: A Burlesque Musical." How do you make them hold together? You don't.
The downsizing of the workforce is one of the timeliest subjects around, but it's only given a light dusting over in "P.O.," Scott Klavan's two-hander about a pair of average-Joe postal work…
Vince Santoro's one-man show plays like its raison d'être is that the author had a lot to get off his chest, and this was cheaper than therapy.
"I like you." "Why?" Not a deathless exchange, yet as rendered with multileveled subtext in Gregory Crafts' "Friends Like These," it pierces and resonates.
Playwright Tom MacLachlan knows stagecraft and has imagination, but he hasn't organized them into a coherent theatrical statement.
Anton Chekhov famously referred to his stage works as comedies, a characterization that may puzzle anyone who has ever sat through an uncut "Uncle Vanya."
This 90-minute show involving a time-altering drug feels twice as long. Kudos to Broadway vet Liz McCartney for bringing a note of reality to the fantasy.
1950s sensibilities clash with 2010 realities in a weird throwback to backstage musicals, but the three-person cast enchants.
This musical version of the fabled Horatio Algers books is hopelessly old-fashioned—but in a good way.
Despite some juicy roles and histrionic scenes, this trio of interrelated one-acts fails to evoke any big emotions.
Apple Core Theatre Company's production of William M. Hoffman's 1985 play about the AIDS crisis may not be ideal, but it mostly hits the right notes and is genuinely moving.SOURCE: Backstage at 05:58PM
Michael Roberts' high-energy, low-inspiration musical revue boasts a gifted company of four and enough decent yuks to get you past the sand traps.
Radiohole's spoof of Douglas Sirk's film "All That Heaven Allows" plays like a bunch of kids putting on a show in their backyard and feels just a bit redundant.
Rick Crom's material is inconsistent, but a gifted quartet sells it with panache in this often funny topical revue.
Matt Pelfrey's dramatization of novelist Clifford Chase's satire of all things current scores some salient points but undercuts itself by plunging too deeply into absurdity.
How am I going to stretch this out into a full review? There’s so little to say about “How to Be a New Yorker,” the nonmusical revue of New York facts, sketches, and stereo…
"The Great Pie Robbery," Ben Tostado's send-up of 19th-century melodrama in the Fringe, feels belligerent rather than affectionate toward the genre.
Wendy Kesselman's "Spit" and James McLure's "Drive-in Dreams" have modest charms, but Nancy Giles' "The Accidental Pundette" standup routine is hilarious.
"Happily After Tonight," Mateo Moreno's fairy tale mash-up, is crowded with talent and imagination but also coarse, violent, and without purpose.
om Slot's serial-killer drama "Killing Time" is gory and gruesome, but its mild tone is that of a sitcom, and its victims' gallery is mostly good company.