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Act I as they set us up is quite a snooze. Act II zany. Don’t be snookered by all this malarkey.
Other than the I-am-the-star performance of Janet McTeer, BERNHARDT/HAMLET is a slow going and disappointing affair where the real Sarah Bernhardt remains elusive.
PRETTY WOMAN is at times pleasurable at best. With some fine performers having to plod through a very mediocre and much too loud score.
Get thee hence quickly to see this boisterous, bawdy and beautiful production. In plain English GO!
A slight, three scene sit-com with superfluous curtain raiser.
This valiant production “adapted” and directed by Charlotte Moore appears to bring back the good ol’ summer stock days of yore.
A rowdy, tuneful and somewhat sentimental mixture of the Bard and the Old West
Will leave you feeling stuffed and satisfied and somewhat bewildered at times. Yet full of wonderment and awe from witnessing some of the most incredible illusions and magic created by Jami…
Spending four hours with this group of losers with their “pipe dreams” might even make a teetotaler desperate for a drink
Just get on with the songs. When that happened, magic happens. Voices soar and we are brought back to the sounds of the 70’s that truly are boogie inspiring.
A badly needed tonic for an anemic theatrical season.
Director Bartlett Sher has created brand new memories to supplant any deeply held fond memories of the original production and film vers…
Everyone, young and those of a certain age alike should see this production at the Imperial Theatre to remember or be introduced to what real theater songs sound like
A series of stereotypical characters in a series of stereotypical television skits with stereotypical punch lines, when you can catch the punch lines emanating from the awful over amplified-…
Be especially eager to hear A’s story about her naked husband and a piece of expensive jewelry that is priceless. A wonderful theatrical production with superb acting by Glenda Jackson. T…
I give full credit to the excellent cast for believing in their one dimensional characters and implausible sit-com situations as they go about singing and dancing with gusto
The direction is superb by Marianne Elliott. Sensational set design by Ian MacNeil. Andrew Garfield’s sensitive yet fierce performance will be talked about and will be remembered forever.
Briskly directed by Michael Grandage. Beautifully lit by that wizard of lighting Natasha Katz with some fun choreography by Rob Ashford starring Patti Murin, Caissie Levy, book writer Jenni…
An insightful, brave, and quite funny play dealing with Down Syndrome and its repercussions. I advise you to see it.
One or two phrases understood here and there make it almost impossible to follow the bumpy McDonagh road of which “hangman” is better with all its underlying complications.
This group of women deserve each other. We don’t. After two acts of ridiculous chit chat I would suggest avoiding them.
Mr. Lithgow, ham that he is, is wonderful - along with his wry take on the proceedings. But the production and choice of tales just doesn’t cut the mustard.
I urge anyone who is thinking of attending (which would not be high on my to-do list) to first read the very informative insert by David Cote enclosed in the Playbill program.
A cliché-ridden sex fantasy farce. A surreal pseudo-intellectual gimmick. Best line – “Just rub it around the rim.” Enough said.
SpongeBob, the ever optimistic hero of this opus – portrayed by Ethan Slater makes a tremendous and auspicious Broadway debut.
Pretending to be a pot-boiler this is a very slow cooker. Quel dommage! They drink a lot. And lie a lot.
An enchanting score by Lynn Ahrens and Stephen Flaherty that oozes truth and honesty with more than a few Caribbean flourishes
Senor Leguizamo no matter how good he is and he is very good - has not learned that brevity is the soul of wit
It is quite special seeing Arabs and Jews in complete harmony making beautiful music together in this gentle, charming and thoroughly inviting musical.
What should be an intriguing, fascinating and intimate story has been blown up to operatic proportions with floating screens, elaborate costumes and noisy percussive music.
The torch has been passed along to Michael Urie who as hard as he tries is still chasing Harvey to the finish line in this slimmed down, revised version directed by Moises Kaufman
How refreshing to hear melodies and lyrics that fall wonderfully on the ear – caressing rather than bombarding by a terrific cast of six full throttled vocalists.