George Bernard Shaw's infamous play on the subject of female prostitution may be 117 years old, but its ideas still feel decidedly modern in director Doug Hughes' largely crackling productio…
Though Brooke Shields shows convincing proof that she can do this cabaret thing, nerves get in the way, and we don't see it often enough in this pleasant but undistinguished turn.
Though there' a great deal to like about David Lindsay-Abaire's new play, and director Daniel Sullivan's production is full of fine performances, it's just a tad too well-made for its own go…
Edna O'Brien is a celebrated novelist, particularly in her native Ireland and the United Kingdom, whose play, "Haunted," is equal parts exasperating and enveloping.
Actor-playwright Rob Benson's overly studied three-hander, about two brothers clearing the rubbish-strewn flat of their long-estranged, recently deceased father, feels awfully insular.
Dear Harvey does play as if the idea were to create an educational piece for students, but author Patricia Loughrey's interviews and intimate reminiscences with Milk's family and colleagues …
Melissa Ross' tailor-made vehicle for LAByrinth Theater Company embraces the company's edgy aesthetic but fails to supply the depth necessary to let it breathe.
Writer-director Tony Devaney Morinelli's play began life at a private high school. In the Fringe it is being put forward as a professional production. It's not.
Brendan Fraser and Denis O'Hare share terrific rapport as two polar-opposite social misfits released into the world from a state mental institution in this quirky, intimate comedy-drama.
The Wooster Group's phantasmagorical production of this autobiographical Tennessee Williams work has arresting moments but doesn't really tell us anything new.
Aidan Matthews' "Exit/Entrance," originally produced at Dublin's Abbey Theatre in 1990, is getting its belated American premiere thanks to Origin Theatre Company and the First Irish Festival.
Edward Albee's "Me, Myself & I" is a not-to-be-missed serving of delicious existential vaudeville and a ferociously comic foray into the realm of the absurd.
In 75 minutes, actors Thomas Jay Ryan and Christina Rouner recapitulate the 95-minute film's screenplay, voicing all the characters (though not inhabiting them) in a rapid and sometimes conf…
The invaluable Metropolitan Playhouse explores George L. Aiken's stage adaptation of Harriet Beecher Stowe's anti-slavery novel with intelligence and invention. The result is absolutely fascinating.SOURCE: Backstage at 5:58pm on May 25, 2015☆⚑
Composer-librettist David Chesky takes no prisoners as he goes after the state of American art and culture with a rapier in his largely delightful satiric comic opera.
Writer-actor Steven Fales' second installment of his "Mormon Trilogy" left me wondering if this unquestionably interesting story of growing up a gay Mormon really needs three shows to tell i…
tan Richardson's new play, based on the true story of a Harvard witch hunt undertaken against a group of gay students (and one tutor) in the spring of 1920, packs quite a punch.
There's much to enjoy in David Yazbek and Jeffrey Lane's adaptation of Pedro Almodóvar's 1988 film, particularly the top-notch, star-heavy cast, but ultimately the show fails to jell.
