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It's embarrassing to watch two distinguished artists playing meatheads beyond their prime, stripping down to their underwear and dancing in semi-nude pulchritude around a barbecue grill.
'The most famous woman you've never heard of.'
Nothing shocks anyone anymore, but 'The Boys in the Band' still resonates with a sound of fury Faulkner never dreamed of.
'Peace for Mary Frances' is so beautifully written that it is impossible to believe it's the playwright's first play.
A new production of 'My Fair Lady' delivers a different ending that is not exactly disastrous, but decidedly disappointing.
Overlook this musical at your own peril.
Tina Fey proves she is not above trashing her talent to make money.
Glenda Jackson returns to Broadway—alongside Alison Pill and Laurie Metcalf—to star in Edward Albee's 'Three Tall Women,' the writer's vengeful depiction of the woman who raised him.
At one point, Ed Harris plays the tuba while everyone sings "Carolina in the Morning." I wish I could tell you it was for a reason.
It took seven decades to get Hayley Mills to the New York stage, let's hope she returns—in a vehicle more rewarding and less forgettable than 'Party Face.'
You'll marvel at the tsunami of words John Lithgow has managed to memorize, wondering how he masters the feat off making them sound fresh eight times a week.
Thank you for making so many other people's movies better than they deserved.
Written by Steve Martin, 'Meteor Shower' has no point or plot, yet the audience roars with laughter at Amy Schumer's every burp and scream.
In this one-man show by David Cale, Billy Crudup plays a man named Philip, his alter-ego Harry Clarke, and the many other characters the con-artist deceives.
John Leguizamo sets the record straight on Latin culture, swearing, swooping and swaggering around the Studio 54 stage in his one-man show, 'Latin History for Morons.'
Now on Broadway, David Yazbek and Itamar Moses' tale of Egyptian musicians lost on a trip to Israel is a triumph of musical comedy.
A new revival reveals that this cornerstone of gay theater has lost none of its wit, heart, wisdom or purpose in the years since its last production.
Act One is rendered unconscious by American actors screeching phony British accents in chirping decibels only a bird can decipher
"Call him Hal, everyone at Sardi’s does."
I expected to be challenged, embarrassed, provoked and possibly enraged. I did not expect to have such a good time.
Not a totally original concept, it still provides an enjoyable riff on a vital subject: dating after the death of a spouse.
'War Paint' is one of those rare break-speed-records-to-get-there shows to save money for.
No, they are not blasting for a new subway under the Belasco Theater. The noise you hear is the sound of a mortified Tennessee Williams, turning over in his grave over what pretentious hack …
In Joshua Harmon’s exuberant comedy, expertly directed by Trip Cullman, Gideon Glick does a career-defining turn as Jordan Berman.
One of five showcases in New York devoted to “new and experimental works” produced by the Roundabout Theatre Company in its “underground” program, the tiny Black Box Theatre, Sixth A…
The demented Norma remains pretty much the sole ownership of Glenn Close. People just can’t get enough of her, or 'Sunset Boulevard.'
Lucas Hedges, Oscar-nominated for Best Supporting Actor for Manchester by the Sea, makes his New York stage debut a must-see experience.
'The Present' is a relentless three-hour pile of noisy, pointless and pretentious junk starring Cate Blanchett.
'The Secret Lives of Edward Gorey' Off Broadway is an intriguing lure into the unhinged world of an erratic queer potato.
In this particularly dreary year of second-rate everything, 'Fences' is something special.
It's Ben Platt who earns the affectionate audience responses, not the Evan Hansen created in the one-note, one-dimensional pop tunes.