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Classic Stage Company presents a condensed, bewildering adaptation that may put you to sleep.
Neither a new musical nor a revival, this odd revisal is an unwieldy, plot-heavy mess.
This musical comedy represents the kind of third-rate work that New York Musical Festival has been presenting in recent years.
Matthew Lopez’s inspired two-part, seven-hour drama is unforgettable.
Writer Alexandra Jacobs presents a biography of Stritch that is meticulously researched, gossipy and vivid in detail.
The cast album is alive and well. Here are the highlights from the past year.
Rather than narrative, expect short comedy routines and striking visual imagery that awakens your inner child.
The Queen jukebox musical took over the Garden for four fun performances.
Adrienne Warren is extraordinary in a rather ordinary jukebox musical.
All the ingredients for this musical looked promising, but the result is underwhelming.
Jaclyn Backhaus comedy rewrites scenes from history with a focus on women who were overshadowed by men.
This documentary details Fiddler on the Roof s origins, recent revivals and continued cultural relevance.
Chris Urch s gripping new drama is inspired by real events in Uganda in which gays were outed in a local newspaper.
The Mint Theatre Company outdoes itself with this production of Micheál Mac Liammóir ’s little-known 1948 Irish drama.
With two versions playing on alternating nights, the gender-reversed version is not just entertaining but surprisingly fitting and enlightening.
Kate Hamill takes liberties in adapting this classic work, to mixed results.
The Irish Rep presents the final piece of its ambitious Sean O’Casey Season.
This scaled-down version is at times underpowered, but on the whole it is effective, smart and emotional.
Unfortunately, this low-key production about Bernie Madoff is more interested in debating morality than providing engaging drama.
The Irish Rep keeps it going strong with part two of Sean O’Casey’s Dublin Trilogy.
John Doyle s show-within-a-show approach is successful in some aspects and less so in others.
The action sequences fail to make up for what is a mostly dull production.
Mistaken identity turns tragic in Sean O’Casey s rarely seen 1923 comic drama.
Laura Benanti s performance should silence any critics who say she s too old for the lead role.
Todd S. Purim s engrossing book outlines all the ways that Rodgers and Hammerstein forever changed musical theater.
Jeremy O. Harris experimental play is sure to make many people uncomfortable, as intended.
Two one-acts by Brian Friel get a welcome revival, though the chemistry between the two leads leaves something to be desired.
Parallels are drawn between Trump and Hitler in John Doyle s production of this rarely seen 1941 political allegory.
Although the play’s thematic content provides food for thought, much of it is slow, didactic and derivative.
When it comes to theatrical flair, Jez Butterworth’s explosive “The Ferryman” has pretty much got it all.
Within its three hour-plus running time, the stage plays host to a 30-plus …