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Hilary Bettis's new play, 72 Miles to Go..., kind of sneaks up on you. It begins in a Tucson church in 2016, where the pastor, Billy (Triney Sandoval), is giving what evidently is his farewe…
[Friedman's] writing in many styles, from pastiche to operatic to sorta-Sondheim, and he melds them well to tell an affecting story.
These debonair individuals aren't easy for us schlubs to identify with, and their problems are neither that acute nor that compelling.
A New York with a Forbidden Broadway in it is always a happier place. And the franchise's latest incarnation, Forbidden Broadway: The Next Generation, currently occupying the York, is a pip.
... well-produced, humorous, and occasionally moving. Still, Eastman's trudging down a well-traveled path.
Lopez's mammoth depiction of the last 30-odd years of gay American male-hood is a unique meditation.
“There are some who think Judy Holliday was the greatest comic actress of all time, and some who think she was simply the greatest comic actress of the century.” That’s David Shipman i…
There’s only one other full-size Broadway musical revival in town right now, that thing uptown about Eliza Doolittle and Henry Higgins, so fans of golden age musicals had better hie themse…
But there must be something about Carmelina, because York Theatre Company's Musicals in Mufti has just brought it back for its third airing, the first title to score such a trifecta.
A stageful of characters you don't often encounter in Broadway houses populates Choir Boy, Tarell Alvin McCraney's two-thirds-drama, one-third-concert, a Manhattan Theatre Club production at…
One walks into Christmas in Hell, at the York, wanting to like it.
Noura burns on a low flame.
Tricky business, political correctness.
Though we never actually meet him, Jamal, the title character of Christopher Demos-Brown's American Son, sounds like a wonderful kid.
It's been a lot of years.
So once upon a time, kids, there was this play called Oleanna. Mid-career David Mamet, it opened off-Broadway in 1992 and immediately caused a ruckus, both on its own merits and in light of …
There's a famous, oft-exhibited photo of Julius, the still-there predominantly gay bar in the Village, from 1966.
"You wanna play snooker? Well, chalk up your cue."
An unfamiliar sight greets audiences filing into Playwrights Horizons' Mainstage Theater:
The story of the writing of You and I turns out to be more compelling than You and I itself. Philip Barry, fatherless from infancy and raised in a modest Irish-Catholic household, was to inh…
It's just a guess, but I'll hazard that Mark Chrisler has a Who's Afraid of Virginia Woolf? fixation.
Henry VI doesn't get a lot of stagings . . .
Log Cabin is so stuffed with ideas, it feels foolish to try to unpack them all here.
Upstage center in Donja R. Love's Sugar in Our Wounds is, as the Playbill says, "a tall, tall tree."
When did you last see a new play where at the end of Act One you thought, hmm, I'm not sure, then at the end of Act Two you thought, Wow?
The theatrical tradition of grownups playing kids, and bringing fresh nuance to adolescent angst, is long and honorable: You're a Good Man, Charlie Brown, of course, and then there's that "P…
Unexpected Joy has a cast of four women and possesses a chick-flick plot that, while original, might have been lifted from a Lifetime Movie of the Week. Wait, wait, don't go away.
Plays don't come timelier than Lindsey Ferrentino's This Flat Earth, premiering at Playwrights Horizons, and sadly, this one will probably stay timely for some good while.
A.R. Gurney is back in town; town is a more civilized place.
Vulnerability doesn't come easily to Eve Ensler. Neither does holding back.