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Act One is rendered unconscious by American actors screeching phony British accents in chirping decibels only a bird can decipher
"Call him Hal, everyone at Sardi’s does."
I expected to be challenged, embarrassed, provoked and possibly enraged. I did not expect to have such a good time.
Not a totally original concept, it still provides an enjoyable riff on a vital subject: dating after the death of a spouse.
'War Paint' is one of those rare break-speed-records-to-get-there shows to save money for.
No, they are not blasting for a new subway under the Belasco Theater. The noise you hear is the sound of a mortified Tennessee Williams, turning over in his grave over what pretentious hack …
In Joshua Harmon’s exuberant comedy, expertly directed by Trip Cullman, Gideon Glick does a career-defining turn as Jordan Berman.
One of five showcases in New York devoted to “new and experimental works” produced by the Roundabout Theatre Company in its “underground” program, the tiny Black Box Theatre, Sixth A…
The demented Norma remains pretty much the sole ownership of Glenn Close. People just can’t get enough of her, or 'Sunset Boulevard.'
Lucas Hedges, Oscar-nominated for Best Supporting Actor for Manchester by the Sea, makes his New York stage debut a must-see experience.
'The Present' is a relentless three-hour pile of noisy, pointless and pretentious junk starring Cate Blanchett.
'The Secret Lives of Edward Gorey' Off Broadway is an intriguing lure into the unhinged world of an erratic queer potato.
It's Ben Platt who earns the affectionate audience responses, not the Evan Hansen created in the one-note, one-dimensional pop tunes.
'A Bronx Tale' on Broadway, with take-home tunes, a first-rate cast and lively choreography, clicks like a new Rolex.
The latest in a long line of dust-offs is the current production of 'Dead Poets Society' off Broadway.
Lynn Nottage's 'Sweat' is an evening of sobering, well-crafted food for thought.
I’ve seen excellent productions of Les Liaisons Dangereuses, including five movies. This is not one of them.
Broadway's 'The Front Page', with John Goodman and Nathan Lane, is directed with forced energy that makes it feel phony as a wooden nickel.
'A Life' makes not one lick of sense. It’s only 85 minutes long with no intermission but seems like a week at hard labor.
'Holiday Inn' is a nice, entertaining, totally derivative but heartfelt musical eggnog without much originality but plenty of energy.
It’s always thrilling to watch veteran actress Judith Light wear one of the many masks of comedy and tragedy in the trunk of theatrical disguises she uses to enchant, mesmerize and grip he…
A pair of superb central performances by Dianne Wiest and David Oyelowo bookmark 'Five Nights in Maine', a slight but poignant drama.
Drake Doremus’ new film Equals is a futuristic Romeo and Juliet knockoff set in a cold, dystopian society called The Collective.
Rex Reed reviews the theater.
Michael Grandage’s directorial debut focuses on the personal and professional relationship
between legendary editor Maxwell Perkins and Thomas Wolfe.
'Himself and Nora' is an exercise in atonal somnambulism.
A glorious new production of 'The Judas Kiss' runs through mid-June at the Brooklyn Academy of Music.