199 stories by "Tony Marinelli"
Marilu Henner and Shannon Purser in a scene from Matthew Freeman’s “The Ask” at Theater 555 (Photo credit: Joan Marcus) Matthew Freeman’s The Ask, now receiving a return engagement a…
Eugène Ionesco’s "The Bald Soprano," that mischievous masterpiece of the Theater of the Absurd, is a play in which the ordinary becomes extraordinary, conversation becomes combat, and the…
Brody, the director, has the unenviable task of making Yee’s deliberately unstable theatrical architecture feel like a coherent evening rather than an assortment of comic sketches held tog…
Set in London in the summer of 2016, when Brexit looms and the world seems to be tilting toward a new and more openly hostile political order, "Fish" follows a young woman whose efforts to e…
In Tom Rowan’s "Burning Leaves," a play of considerable tenderness and moral complexity, the distance between being someone’s inspiration and becoming someone’s responsibility proves b…
Playwright Williams begins with an image whose simplicity makes its horror all the more immediate. Sharon, eight years old, hurries home after her birthday, intent on claiming the remaining …
At the center of this improbable vessel is David Greenspan, who gives one of those performances that make the phrase “command of language” sound insufficiently imposing. As the elderly H…
What playwright and director Simon Stone does with "The Cherry Orchard" is less a conventional modernization than a cultural transplant: Anton Chekhov’s doomed Russian estate becomes a gli…
Sarah Jones has spent two decades turning the one-person show into an exercise in theatrical multiplication. In "America, Who Hurt You?," she fills the Polonsky Shakespeare Center with a spr…
A multi-day hike is supposed to be restorative: an interval in which the civilized world recedes, the body remembers that it has muscles, and the mind, deprived of its usual electronic distr…
There is something wonderfully perverse about naming two sisters Kate and Bianca after the heroines of Shakespeare’s "The Taming of the Shrew" and then setting them loose in the 21st centu…
Sidney Hatcher, Wadiah Waliah and Benjamin C. Rowe in a scene from Terence Anthony’s “The House of the Negro Insane” at 59E59 Theaters (Photo credit: Steven Anderson) Terence Anthony�…
If Kelly can pare away the exposition, substantially tighten the second act, eliminate the extraneous political rhetoric, deepen the comedy through character rather than topical jokes, and g…
In benevolent, Sophie McIntosh turns a basement laundry room into a small theater of female confinement, where the dirty linens of respectable New York become both literal evidence and metap…
"Isla," the new musical-theater piece from Hit the Lights! Company now at WP Theater, is one of those productions in which the eye is continually rewarded while the mind is left waiting for …
At first mention, a young woman suffering a stroke does not sound like a promising premise for a comedy, much less a musical comedy. It suggests frantic texts to a medically literate friend,…
John Donnelly’s "The Pass," which arrived at London’s Royal Court Theatre in 2014 and now makes its American premiere at La MaMa, is the sort of play whose subject seems almost unnerving…
George's accomplishment lies in recognizing that public catastrophes reverberate far beyond the headlines. His protagonists are not heroes in any conventional sense but three hourly employee…
Christopher Ryan directs with remarkable confidence in the material's stillness. Presented upstairs at Quick Eternity, a cocktail bar tucked into the Seaport, the production dissolves the cu…
Giovanna Yang as Despina, Lina Chung as Fiordiligi, Ricardo Diaz as Ferrando, Young Kwang Yoo as Guglielmo, Mairin Srygley as Dorabella and Nicola Ziccardi as Don Alfonso in a scene from T…
Matthew Leavitt’s "Sukkot" begins with a deceptively simple premise: a grieving widower builds a sukkah because he believes it is the closest remaining path to his late wife. From that pre…
What ultimately distinguishes this production is its refusal to flatten Shakespeare into a contemporary thesis. It neither apologizes for the play's misogyny nor sensationalizes it. Instead,…
César Alvarez's "The Potluck," directed with uncommon daring by Sarah Benson, is that increasingly rare theatrical achievement: a musical willing to risk confusion, contradiction, and forma…
A theatrical audition has always carried the faint aura of ritual: a small room, a handful of strangers vested with authority, and an actor asked to compress talent, vulnerability, and despe…
Walsh has long been fascinated by characters imprisoned within the architecture of their own memories, people condemned to relive the past not because they have forgotten it, but because the…
