51 stories by "David A. Rosenberg"
Comedian and tragedian, bluegrass musician and art collector, brainy and goofy . . . this Long Wharf world premiere is all Steve Martin
an overloaded kitchen sink drama having its world premiere at Long Wharf Theater before moving to the Roundabout in New YorkR
though still in need of a pointg of view this musical luckily has the superb Bobby Steggert as Toulouse-Lautrec.
Samuel Beckett's play featuring a heartbreaking performance by Dianne Wiest blazes with life at Yale Rep . . . Read More
Samuel D. Hunter's evocative, admirably realistic new play Long Wharf Theater is that familiar conflict between a new country's western expansion at the expense of devouring the land.
Clocking in at an intermissionless 95 minutes, Jen Silverman's melodramatic comedy is as adventurous and stylish as it is strained and vapid.
Dan O'Brien uses a true story to examine the lives of two men, their creative processes, the ghosts that haunt them, their search for themselves and their symbiotic need for connections.
Paula Vogel's moving, full-scale, sometimes overstuffed, always fascinating new work at Yale Rep .
bush-league knock-off of Gypsy with the mother and her rebellious daughter here Lela Rogers and movie legend Ginge
C. P. Taylor's World War II story highlighted by fine acting at Westport Country Playhouse
Acted with passion and commitment, this eloquent production is a rare chance to see one of Ibsen’s least-produced masterworks.
Kelly Younger’s ambitious stage adaptation of Peter Quinn’s sprawling novel about New York City’s Draft Riots during the Civil War misses the mark.
Though it flirts with grown-up irreverence, the lively tuner is a juvenile romp that should appeal to fans of television cartoons.
This often absorbing yet ultimately unfulfilling drama nevertheless marks Samuel Brett Williams as a playwright on the verge.
With enough material for a dozen plays, John Pollono's drama is an Italian stew, with moments both touching and volatile.
Jeff Cohen's adaptation of Christopher Stokes' short story is more a combination of dance and narration than a dramatic work that develops characters.
Though it's a shallow work, a series of short scenes that doesn't get very far and raises more questions than it knows what to do with, writer-director Chad Beckim's play is sweet-natured.
As cleverly directed by Jesca Prudencio and acted by a knowing cast, Matt Owen's play has clarity issues but also distinct possibilities.
Daniel Kitson's inventive and winning solo show centers on the massive correspondence of a lonely man contemplating suicide. But the replies postpone his date with the noose.
This confused mishmash stars a veteran of Yiddish theater, Broadway, and television, but it feels like amateur night at the local shul.
Joe DiPietro wraps an explosive, lesser-known bit of history in a conventional framework. It makes for a safe, unchallenging, still entertaining work that resembles a Wikipedia entry
Dael Orlandersmith's soul-baring and often lyrical solo arrives at New York Theatre Workshop.
Sheila Callaghan's play, having its world premiere at Yale Rep, is, as of now, a muddle of themes and characterizations in search of a tone.. . .
What's unsaid in this all too relevant solo play is as potent as what is.
Those who've never particularly liked the plays of Bertolt Brecht, nor understood his appeal, will not have their minds changed by director Liz Diamond's Yale Rep production . . .
