Thursday, January 24, 2008 at midnight (Broadway Time)

Blue Man show makes theatergoer see red By Michael Higgins

Man sues troupe over 'esophagus cam' use

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The Last Laugh By FRANK RIZZO

Allen Perfectly Cast As Gay Actor Who Wants To Come Out

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Slide Show
Lens: Backstage at 'Chicago'

Photographs by Sara Krulwich taken behind the scenes at the production of "Chicago" at the Ambassador Theater on West 49th Street.

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Photo File By: Joseph Marzullo; Text by Brian Scott Lipton

John Travolta, Brooke Shields, Clay Aiken, John Tartaglia, Jonathan Cake, Ethan Coen, and other luminaries light up for our camera.

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Review: Ethan Coen's 'Almost an Evening' BY LINDA WINER

Really, the temptation is to say almost nothing about the gleeful, thoughtful and darkly loopy little trio of one-acts that opened last night at the Atlantic Theatre Company's second stage.

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Wanda's World - Reviewed by RON COHEN

"Wanda's World," an entertaining concoction aimed at that profitable audience of prepubescent girls known as "tweens," fits neatly into the groove cunningly carved by Disney with "High Schoo…

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Wanda's World
Reviewed by: Dan Bacalzo

This feel-good musical is aimed at tweens, but can be enjoyed by audiences of all ages.

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The Main(e) Play

It looks unpleasant from the get-go, but Chad Beckim's sweet-spirited observations on rural Yankee life draw out enough laughter and goodwill to keep "The Main(e) Play" moving, even though i…

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The Main(e) Play
Reviewed by: Dan Bacalzo

Chad Beckim's provocative drama examines issues such as single parenthood and abortion from a fresh perspective.

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The Main(e) Play - Reviewed by RON COHEN

The tugging and pinching of family ties are sensitively demonstrated in Chad Beckim's affecting home-for-the-holidays drama.

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One of the first things that strikes you while watching Abi Morgan's Tender is how little tenderness there actually is in this drama.

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Fabrik: The Legend of M. Rabinowitz - Reviewed by ANDY PROPST

There's a lot of childlike whimsy in "Fabrik," but don't let Kirjan Waage's puppetsfool you. This show is hardly kiddie theatre. It's a must-see feat of theatricality.

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Glory Days

This charming little pop musical about adolescent innocence comes from two experts on the subject -- a pair of twentysomethings from the D.C. area in their first theatrical collaboration.

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Supersize satire takes on huge egos BY HEDY WEISS

'Fatboy' inspired by absurdists of the last century

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An Evening With Judy Collins
Reviewed by: Brian Scott Lipton

The legendary pop-folk singer turns the swanky Café Carlyle into her living room.

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Springer Awakening, by Adam Feldman

Can a damned talk-show host save Broadway from itself?

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Richard Foreman Machine

Photos from Richard Foreman's new show Deep Trance Behavior in Potatoland.

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LI lawyer wins Billy Joel role in Movin' Out, by Glenn Gamboa

Matthew Friedman was ready to give up. He was a 30-something attorney from Dix Hills and he was reaching that point - the one dreamers know all too well, the one where it becomes clear that …

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No Map Needed for Reality-Altering Trip, by Ben Brantley

Richard Foreman's phantasmagorical new show, Deep Trance Behavior in Potatoland, is as disciplined as a Balanchine ballet.

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If They've Changed the Locks, Is It Really Home?, by Andrea Stevens

When a character who is talked about but never seen is the most interesting figure in a drama, is that a problem? It is for Chad Beckim’s new play, The Main(e) Play.

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Dashing Through a Sex Comedy by Machiavelli (Yes, That Machiavelli), by Jason Zinoman

This broad, straining production of The Mandrake holds an undeniable curiosity value but doesn't capitalize on it.

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Not Quite There, by Frank Scheck

He's just received multiple Oscar nods for No Country for Old Men, but filmmaker Ethan Coen shouldn't expect many accolades for his theater debut. Aptly titled Almost an Evening, the minor one-acts that opened Tuesday night at the Atlantic Theater Company would barely pass muster at any of the many one-act-play festivals dotting the theatrical landscape.

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Wanda's World, reviewed by Steven Suskin

"A Musical for the Tween in All of Us" is the catch phrase on ads for Wanda's World. Whether there is in fact a tween in all of us is open to debate, but there's no question that the creators of this new Off Broadway musical have concocted a bright and endearing musical comedy.

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The 39 Steps, reviewed by David Cote

People are constantly escaping in The 39 Steps, a spoofy stage version of the 1935 Alfred Hitchcock thriller. Escape is also pretty much all this amusing diversion—in which four actors play several dozen characters to bravura comic effect—offers the average theatergoer: about 100 minutes of chuckleworthy theatrical silliness that, while never hilarious, is thoroughly clever.

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November, reviewed by Adam Feldman

Though sporadically amusing, David Mamet's new play ultimately seems like an exercise in cynical apathy.

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Slaughterhouse-Five, reviewed by David Cote

Using plentiful sound cues and bold lighting, director Joe Tantalo thriftily conjures up the time-tripping world of soldier, optometrist and alien abductee Billy Pilgrim.

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Almost an Evening, reviewed by David Cote

This wan trio of absurdist playlets barely amounts to half a show.

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The Mandrake, reviewed by Garrett Eisler

The Pearl Theatre's revival of Niccolò Machiavelli's sex farce opts for slapstick over politics, but the subdued tone provokes more smiles and chuckles than guffaws.

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The Trojan Women, reviewed by Helen Shaw

The Classical Theater of Harlem's updated production of The Trojan Women refuses the moral high ground. From the chilling opening monologue, in which a chorus member threatens the audience, director Alfred Preisser gives us the straight dope on suffering.

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