Wednesday, August 22, 2012
“Henry V,” “Much Ado About Nothing” and “Cymbeline” mix comedy and history at the Stratford Shakespeare Festival in Ontario.
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The Public Theater’s Mobile Shakespeare Unit is back home with its abbreviated production of “Richard III,” with a nine-person cast that stars Ron Cephas Jones.
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An aging Russian general living a life of quiet exile in Paris meets a young waitress who shares his sense of isolation.
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The true star of “Bring It On: The Musical,” now at the St. James Theater, is its high-energy gymnastics, but it also draws on heavyweight theatrical talent.
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Mike Daisey is back with a new version of "The Agony and the Ecstasy of Steve Jobs." Charles Isherwood says he seems to have addressed some problems with the truth.
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Thursday, July 19, 2012
“Hand Stories,” at the Lincoln Center Festival, is an autobiographical work of glove puppetry from Yeung Fai, a Chinese-born puppeteer.
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Monday, July 9, 2012
“DruidMurphy,” a cycle of three plays by Tom Murphy tied loosely by the theme of emigration, explores how the forces of history have shaped generations of Irish men and women.
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Sunday, June 24, 2012
“3C,” a black comedy by David Adjmi, tries to excavate the grimy subtext lurking under a sitcom like “Three’s Company.”
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“As You Like It,” this time set in the American South with bluegrass music, opens the 50th anniversary season of the Public’s free Shakespeare in the Park.
SOURCE: The New York Times Subscription at 10:00PMIn a summer of theater riches, “DruidMurphy,” three plays by Tom Murphy produced by the Druid Theater Company for the Lincoln Center Festival, might be the season’s best.
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An uncle and his niece find an emotional connection in the jungle, once she has poured out her heart to him, in Greg Pierce’s play “Slowgirl.”
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The playwright Annie Baker and the director Sam Gold have collaborated on a funky, fresh new production of “Uncle Vanya.”
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Jim Parsons of “The Big Bang Theory” stars in a revival of “Harvey,” a Roundabout Theater production about a sweet drinker and his invisible rabbit friend.
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Gina Gionfriddo’s “Rapture, Blister, Burn,” at Playwrights Horizons, considers the career versus marriage debate from the perspectives of two women.
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Burdens are just about equally distributed among the eclectic characters in “Storefront Church,” John Patrick Shanley’s unwieldy but affecting new play.
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Dating-competition television shows are given a musical satire treatment at the Old Globe Theater in San Diego.
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In “Food and Fadwa,” a co-production of Theater Noor and New York Theater Workshop, a Palestinian family copes with a menu, a wedding and another night of curfew on the West Bank.
SOURCE: The New York Times Subscription at 10:00PMWith delicate plotting and dialogue, early-career writers are bringing a sensitive new voice to Off Broadway theater.
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Alena Smith’s new play, “The Bad Guys,” displays an appreciation of the complicated mixture of honorable and dishonorable impulses in us (well at least those of us who are guys).
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The Broadway-bound “Hands on a Hardbody,” now at La Jolla Playhouse in San Diego, strikes a fresh, topical note for American musical theater.
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An air of disorderly fabulousness pervades “Jukebox Jackie,” a show with Justin Vivian Bond at La MaMa that pays spirited tribute to Jackie Curtis, one of the gender adventurers who orbi…
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By choosing to play the lead in "The Lyons," for which she is Tony-nominated, Linda Lavin gave up two smaller parts that have earned nods for the actresses who took them on.
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“Title and Deed” is Will Eno’s Beckettian meditation on loneliness and home, in which a nameless traveler narrates his quest to find connections in an unknown country.
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“Are You There, McPhee?,” the new John Guare play, is a dizzying comic fantasy about the terrors of childhood, the confusions of adulthood and much more.
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Three cheers for the small but ambitious One Year Lease Theater Company for bringing Mark Ravenhill’s terrific play “pool (no water)” to New York.
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There's a significant difference between attending live theater and seeing a taped performance of the same show.
SOURCE: The New York Times Subscription at 03:29PMThis sorry Broadway musical season mainly offered choices of the vulgar, the derivative or the insipid. Thank goodness there at least a few memorable individual performances.
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