"Notes From Underground" is a harrowing evening of theater that will appeal to those who delight in profound but difficult thought and exhaustive emotional venting.
The Amoralists use this early Adam Rapp play to strike a blow against sclerotic modes of presentation and received attitudes in the minds of audiences and critics. I had a blast.
Ambition overreaches ability in Jon Steinhagen's split-personality comedy about the backstage tribulations of a theater company attempting to perform a Dadaist biography of Erik Satie.
Zehra Fazal's warm, wise, and very funny one-woman play with music is a welcome addition to the ongoing, often contentious conversation between Muslim and non-Muslim America.
Is this a slyly subversive comedy or cheesy, amateurish theater with plenty of naked bodies? Hard to say, but its message of tolerance is worth hearing.
Daniel Beaty's thrilling play conjures a community of African Americans whose lives intertwine in a series of epiphanies, narrow escapes, and tragic accidents on a single summer night.
Anna Fishbeyn says little about mothers and sexuality that we haven't heard before, but she speaks with such gusto, wisdom, and sexual frankness that we're content to stop and hear it again.
Though the show's roots as a concert are always on view, Daniel Alexander Jones' heartfelt performance in the title role, offbeat and delicious, grounds this entertaining musical as theater.SOURCE: Backstage at 5:58pm on May 25, 2015☆⚑
Writer-director Erik Zambrano's rumination on the cost of fame, the loss of identity, and the mystery of desire loses itself in a nontraditional style of presentation that never connects wit…
By the time Trent Armand Kendall's one-man musical ends, he is wrung out and we are infused with the kind of glow that only a superlative performance can kindle.
In a masterful display of acting and storytelling, Anna Khaja rivets the audience to its seats with her depiction of the events leading up to the assassination of Benazir Bhutto, the former …
Patrick Healey's two-person adaptation of James Joyce's "Ulysses," though not perfect, is rewarding theater for those who enjoy standout acting, a searching exploration of the human heart, a…
Playwright Richard Nelson lobs a grenade with this hyper-timely play about the midterm elections. Performed by a sterling ensemble, it should give everyone, right or left, pause to reflect.
In theater, a revival is the bringing back to life of a play that has not been performed recently. "Touch," the 41-year-old musical, strains the definition of revival, because it is in no …
<p>Five-time Tony Award nominee John McMartin and <i>In the Heights</i> vet Justina Machado have joined the cast of John Guare’s <i><a href="http://www.b…
By the time Trent Armand Kendall's one-man musical ends, he is wrung out and we are infused with the kind of glow that only a superlative performance can kindle.
Spellbinding Fringe entry "Saharava" combines inventive choreography and Eastern-flavored music to trace the birth, life, and rebirth of a young everywoman.
A few stirring songs sandwiched among uninspired playwriting comprise "Shelter," a NYMF show about the plight of women and families in homeless shelters.
Uneven casting and wrong-headed revisions sink Irish Rep's revival of "New Girl in Town," a 1957 musical adaptation of Eugene O'Neill's "Anna Christie."
An amateurish book and a nondescript score fail to animate "Captain Crash vs. the Zzorgwomen: Chapters 5 & 6," a parody of Saturday afternoon movie serials.
