Monday, November 14, 2011
“Burning,” Thomas Bradshaw’s Off Broadway debut, is a tale of rampaging erotic impulses and misplaced artistic ambitions, set in the 1980s and the present.
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In “Hugh Jackman: Back on Broadway” the impossibly talented, impossibly energetic Mr. Jackman is a glorious dinosaur among live entertainers of the 21st century: an old-fashioned matinee…
SOURCE: The New York Times Subscription at 11:57PMHave you ever been tempted at the theater to lean toward the stage and yell at the performers, "What did you say?"
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Bill Irwin pops up like a daffodil in February amid the gray slush of the Public Theater’s “King Lear,” starring Sam Waterston and directed by James Macdonald.
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Michael John LaChiusa’s “Queen of the Mist” is a musical portrait of the obsessive Anna Edson Taylor, who made her name in 1901 by going over Niagara Falls in a barrel.
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Jon Robin Baitz’s “Other Desert Cities” has moved to Broadway, where it has emerged as stronger, more sincere and more credible than in its previous incarnation.
SOURCE: The New York Times Subscription at 10:01PMWorks of social conscience have been largely absent from the stage for, well decades. A recent batch of works marks a welcome change.
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Karin Coonrod’s rowdy production of “Love’s Labor’s Lost,” is a streamlined interpretation of Shakespeare’s early comedy about men trying to do without women — and failing.
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In David Henry Hwang’s “Chinglish,” now on Broadway, an American businessman hoping to make his fortune in China goes through a maze of cultural confusion and linguistic blunders.
SOURCE: The New York Times Subscription at 10:00PMI've never really paid the sort of attention I suppose I should have to arguments about Shakespeare's identity.
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“The Mountaintop,” with Samuel L. Jackson as the Rev. Dr. Martin Luther King Jr., takes place the day before Dr. King was assassinated in the motel where he spent his last night.
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The suffocating, esteem-shrinking Jewish mother, typically blamed as the root of all her children’s unhappiness, is the center of “The Lyons,” Nicky Silver’s portrait of familial lon…
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The main raison d’être of the Broadway revival of Terence Rattigan’s “Man and Boy” is the occasion it gives Frank Langella to explore the pathology of power.
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It’s your ears that keep you awake in Robert Wilson’s interpretation of Bertolt Brecht and Kurt Weill’s “Threepenny Opera” at the Brooklyn Academy of Music.
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Tuesday, September 27, 2011
Wednesday, September 21, 2011
Sunday, September 18, 2011
“Arias With a Twist” isn’t just a pocket-size, gender-inverting version of the grandeur that was Ziegfeld; it summons a century’s worth of ghosts of hedonism.
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This season is bounteous with familiar characters from other chapters of dramatic literature, who were last seen in the vicinity only a decade or so ago and are being given fresh life by new…
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Somewhere along the road from Washington to Broadway, the Kennedy Center production of “Follies” picked up a pulse.
SOURCE: The New York Times Subscription at 10:01PMIn Richard Nelson’s “Sweet and Sad,” the day is Sept. 11, 2011, and the Apple family finds that the events of 10 years earlier cast a long shadow.
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“The Select (The Sun Also Rises)” is a lively riff on Ernest Hemingway’s first and greatest novel, but it never entirely wraps its mind around the style and essence of the book that in…
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A six-person production of “Cymbeline,” one of Shakespeare’s less beloved plays, opened at the Barrow Street Theater on Thursday after a run at the New Victory.
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Thursday, September 1, 2011
Audra McDonald plays Bess with confidence and conviction in a production that is otherwise lacking, anxious and confused.
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How I wish that “Bluebird,” though efficiently directed by Gaye Taylor Upchurch, had left more of the revelations to Simon Russell Beale’s face and fewer to the script.
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John Doyle’s production of “Ten Cents a Dance,” at the Williamstown Theater Festival, is a beautiful, brooding collage of Rodgers and Hart songs.
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Maybe they should call it “Sublet.” The young ensemble members who inhabit the new production of Jonathan Larson’s “Rent” never seem to feel truly at home.
SOURCE: The New York Times Subscription at 10:01PMIn the theater, as in life, a kiss is hardly just a kiss. Whether bestowed on the lips, the cheek, the hand or any other part of the anatomy, the simple application of the lips to someone el…
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Les 7 Doigts de la Main, a troupe from Montreal, performs acrobatic feats of derring-do in “Traces,” at the Union Square Theater.
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Cate Blanchett, Richard Roxburgh and Hugo Weaving star in the Sydney Theater Company revival of “Uncle Vanya” at the Kennedy Center in Washington.
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