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Set to the music of Max Martin, this moronic new Broadway show asks the question, "What if Romeo died but Juliet didn't kill herself and lived on to bore everybody else to death?"
The ovations (many of them standing) greeting Lea Michelle as Fanny Brice are contagious.
Whatever charm exists in 'Mr. Saturday Night' is due to Mr. Crystal, but even he needs proper material.
The new production of 'Funny Girl' knocks your socks off before the intermission. By that time, the star's hidden magic has hit you squarely in the heart in ways you didn't see coming.
You will probably leave Tracy Letts' 'The Minutes' with very mixed feelings, but you will talk about it, think about it, and go away with the knowledge that you have never seen anything like…
Real life has changed since 2003, but baseball has not. It's still the right time for a brave, powerful, poignant play about a gay professional baseball player who comes out of the closet at…
This is the kind of corn that never grows stale.
It's better than 'Mrs. Doubtfire', but you will not be singing these tunes as you walk home from the theater — unless you love to rhyme "penis" and "Venus" or "smelly" and "Botticelli.”
Old-fashioned in the best way, 'Morning's at Seven' is about the sense of isolation and failure that hides beneath the surface.
Laughs are abundant and a good time is guaranteed.
Even if you like the easy, predictable clichés of dysfunctional family comedies, this is very boring theater.
The one-woman show gives her a chance to access a darkness she can't often show in her films.
'Harry Townsend's Last Stand' takes a serious subject and dusts it with humor.
She is so fine in a role conceived for the volcanic Italian superstar Anna Magnani that holding center stage amid a swirl of overproduced, over-the-top distractions, she deserves an award of…
It had a profound effect the night I saw it on an audience that was visibly moved
The new Broadway season is officially in motion, and so far unofficially underwhelming.
As for the author, Fillinger is a brave, commanding new presence—a young American dramatist worth keeping an eye on in the future, and deserving of praise already.
Cori Thomas' 'Lockdown' cries out for change in the penal system. It's a good premise, but not a very good play.
Everyone in the cast has been hired according to how loud they can scream, which they do in an eardrum-shattering collection of what some people call music.
Its rhyming of 'real good' with 'Gielgud' is a prime example of why 'Tootsie' is dead on arrival.
This is as good as it gets.
Laurie Metcalf looks and sounds nothing like Hillary Clinton, yet in her role in Broadway's 'Hillary and Clinton' she is, as always, nothing less than mesmerizing.
Even if 'Burn This' offers more ashes than flames, it's a fine chance to experience how bracing it is to hear real people saying real things.
The landmark 1943 Rodgers and Hammerstein production that marked the beginning of a new era in American musicals has now been cheapened and vulgarized at New York's Circle in the Square Thea…
'Smart Blonde' is a sluggish, uneven work in progress, but still worth seeing if you want to discover a dynamic talent on her way to stardom.
Isabelle Huppert's theatrics are quite a display, but you'll go away from 'The Mother' baffled and exhausted.
'The Cake' is easy on the eyes and charming to the ears, but it doesn't provide much nutrition to take home.
Looking back at a catastrophic year, 2019 has got to be better.
This is the first time I have not been moved to tears by 'To Kill a Mockingbird,' but that's my can and I'll carry it.
Much of the antiseptic dilution is the fault of Ivo van Hove, a dour Belgian director.
'Downstairs' doesn't add up to much, but what's there is suspenseful.