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Two one-acts based on stories by Chekhov and Tolstoy are presented together, thought they have little to do with each other.
Betty Buckley uses her beautiful voice to create dreamscapes that will send you home on a cloud.
This is a timely new play from a promising writer, with a fine, committed cast.
This Bob Dylan jukebox musical is an interesting experiment in historical mood-setting, but it suffers from too many characters and plot lines.
The U.S. premiere of this award-winning play is highlighted by a haunting performance from Carla Gugino.
Underneath its pretty packaging, this wearying family saga is in need of a rewrite.
As the best folk songs often do, this powerful show may make you both sad and elated.
Classic Stage Company presents a condensed, bewildering adaptation that may put you to sleep.
If Beth Malone weren t such a fine actress, this modest musical would definitely be less fun.
The portrait of this bio-play wouldn t have liked the way it makes sport of the shenanigans of ignorant peasants.
Neither a new musical nor a revival, this odd revisal is an unwieldy, plot-heavy mess.
Despite vibrant acting and intimate scenes, the narrative threads sag in the second half of this coming-of-age drama.
Dierdre O’Connell stars in a fascinating solo play that asks, can you ever really know a person?
The Mint Theater Company presents two short stories dealing with love and spirituality by two great Russian writers.
Ivo van Hove s revival attempts to reimagine the classic show but nearly shreds it to pieces.
Missteps in this production include cutting the show too short and using giant video projections that overwhelm the action onstage.
Jerry Herman’s 1974 flop has been reborn and reformed into a splendid show.
This is one Dracula you can count on for an evening’s worth of worthwhile entertainment.
This musical retelling isn t exactly intellectually stimulating, but it might resonate with anyone in the audience with FOMO.
If it weren’t for the valiant efforts of the six-person cast, this production might have come up completely lame.
It s unclear why this carbon copy of the 1969 film has been transferred to the stage.
This musical comedy represents the kind of third-rate work that New York Musical Festival has been presenting in recent years.
Rick Miller provides a relentless recap of an era not exactly lost in the mists of time.
The Irish Rep productions of O’Casey’s three early plays represent theater at its best.
This sprightly, clever musical proves that theater doesn t always have to enlighten; it can simply tickle.
This neo-Gothic ghost tale has some down-to-earth charms.
There is ace work all around in this story of have-nots living paycheck-to-paycheck.
Bess Wohl’s play features characters we can all recognize, brought to life by a first-rate cast.
Michelle Dooley Mahonshows a gift for painting evocative pictures with words in her worthwhile solo show.
The play’s Broadway debut couldn’t be fresher, timelier or more satisfying.