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This film from Tom Gustafson, based on a 1993 Off Broadway show, has a formidable cast of Broadway names but wants for dramatic traction.
This spirited riff on the long-running HBO hit displays affection for its subject, tempered with a keen eye for its shortcomings.
This award-winning kinetic farce by Brian Parks squeezes 45 vignettes into an hour.
With “The Suitcase Under the Bed,” the Mint Theater Company presents one-acts by Teresa Deevy, a proto-feminist finally receiving her due.
The words and tunes that Woody Guthrie, the Dust Bowl troubadour, made famous are at the center of this high-spirited show at the Irish Rep.
This revival of J. B. Priestley’s 1932 comedy depicts a busy Saturday in the life of a harried, financially imperiled aristocrat.
This multimedia production examines the people and backstage dramas that went into the making of “Casablanca” in 1942.
The show employs video, puppets and action figures, as well as actors, to tell its familiar story, about a boy abandoned by his vacationing family.
Honor Molloy explores rage, dissolution, sexual perversity and family history with a bleak and penetrating acuity in this play at Origin’s 1st Irish Festival.
Seth Panitch’s play, an hourlong exercise in puerile scatology, is built around men’s room graffiti, sight gags and comic riffs.
The Drilling Company’s brave ensemble, Shakespeare in the Parking Lot, exuded an energy eclipsing the ambient sounds of the city.
This music and theater piece at BAM Fisher evokes the historic 1945 night on which the poet Akhmatova stayed up discussing literature and life with Isaiah Berlin.
This play, by Sharman Macdonald, rides the waves of a turbulent mother-daughter relationship in a production by Fallen Angels Theater Company.
This Caridad Svich adaptation of Mario Vargas Llosa’s novel features romance and farce set in 1950s Peru.
The play, a bisexual romantic triangle at the Acorn Theater that takes on ambivalence, is written by Scott Elmegreen and Drew Fornarola.
The blustery character Jerry F. Wolfert returns in this sendup of 1970s and ’80s Hollywood.
Ellen Maddow’s comedy explores the vicissitudes of cheek-by-jowl urban housing.
At the Cave at St. George’s Church in Manhattan, a troupe called the Representatives depicts the secret tribunals of gay students in 1920.
This play, inspired by “The Slave Ship: A Human History,” by Marcus Rediker, brings to life a 19th-century scene of moral and physical conflict.
This show, at Theater 80 in the East Village, is from the creators of “Bayside! The Musical! The Saved by the Bell Musical Parody!” and stars Perez Hilton.
Oren Safdie’s work, about a sexual harassment lawsuit, focuses on memory.
Adam Seidel’s serio-comic play at the Cherry Lane Theater mixes romance, absurdism, satire and a touch of “Dexter.”
A production by the Drilling Company at Bryant Park has sweetened some of the aftertaste of this play about a husband breaking the will of his hot-tempered wife.
The film, directed by Mora Stephens, finds a straight-arrow prosecutor with an out-of-control libido.
In this play, two astronauts deal with Wongo Weed and big-haired natives after landing on a planet ruled by women.
“The Internet” is a multimedia show about the search for love, or at least dates, in a wired world.
Two one-act plays by Sophia Romma at the Cherry Lane Theater examine relationships that span cultures.
Bern Cohen portrays Abbie Hoffman in the one-man show “Abbie.”
“Tom Ryan Thinks...” riffs on Nicholas Ray’s 1956 movie “Bigger Than Life.”
New York Times writers review five shows that made their debuts in the early days of this year’s New York International Fringe Festival.
The movie, written and directed by Charlie Levi, follows a group of Angelenos dealing with problems, among them the death of a child.