1,121 stories by "Charles Isherwood"
For while the Broadway season was a bountiful one in many ways - what's this, almost a dozen new musicals? - it was pretty thin on significant leading roles for women.
For "Theater for One" a single actor and a single audience member are sequestered in a plush red booth in Times Square for a one-on-one performance.
In Tanya Saracho's play "Enfrascada," a betrayed woman and her friends talk about love and dabble in the supernatural.
The story of the Shaggs, a bad band that became something of a legend, is based on an actual footnote in rock 'n' roll history.
"The Best Is Yet to Come" is a revue tribute to Cy Coleman, whose songwriting career does not make for easy anthologizing.
Parenthood is considered from both the hypothetical and actual perspectives in "Cradle and All," a slight but mostly satisfying comedy by Daniel Goldfarb.
"Sleeping Beauty Wakes," a musical that sets the fairy tale in modern times, finds the heroine enamored of a hospital orderly with his own sleep problems.
"Knickerbocker," a new play by Jonathan Marc Sherman, delves into a man's angst over his impending fatherhood.
The Broadway musical and opera inhabit distant cultural spheres, but two recent productions represented a notable " and unfortunate " point of contact.
Inspiring bouts of irrational fear may be among the ancillary ambitions of Sleep No More," an immersive production from the London-based Punchdrunk company.
A bad economy has inspired a number of new plays on Broadway that feature working-class characters.
Small stirrings of the heart and mind evoke delicate musical responses in "A Minister's Wife," a chamber musical based on "Candida," George Bernard Shaw's comedy about the mysteries of marit…
Arthur Laurents stands alone as a writer who owes his lasting fame to his authorship of two great musical books.
"Carson McCullers Talks About Love," Suzanne Vega's mixture of nightclub act and theater piece at the Rattlestick Playwrights Theater, is a funky ramble through McCullers's life.
David Ives's "School for Lies," at Classic Stage Company, is a glittering, freewheeling rewrite of Molière's "Misanthrope."
Watching the stage adaptation of "Autumn Sonata" at the Yale Repertory Theater is a bit like looking at the Ingmar Bergman movie through the wrong end of a telescope.
The final performances of plays and musicals are naturally emotional occasions.
If the sexual politics in the revival of the 1946 play "Born Yesterday" still carry a whiff of the postwar years, the political resonance could scarcely be more potent.
"Sister Act," based on the hit movie, offers tunes that echo the Philadelphia sound and a stage full of nuns flaring their gams like the Rockettes.
In "High," Kathleen Turner plays a nun and a rehab counselor faced with a recalcitrant young charge.
"Wonderland," a peppy new Broadway musical inspired by Lewis Carroll's books, is a contemporary parable about reconnecting with your inner child.
Charles Isherwood worries that good singing voices are no longer necessary for casting in big musicals.
In David Greenspan's new play, "Go Back to Where You Are," he is also an actor, playing a demon traveling through time on a mission of salvation.
"Bring Us the Head of Your Daughter," from the frisky downtown troupe the Amoralists, doesn't make much dramatic capital from its outrageous conceit.
