278 stories by "Erik Haagensen"
Kurt Peterson and Victoria Mallory, Broadway's go-to ingenues 40 years ago and once a couple, reunite at City Center in a wonderful "concert with comments."
Under Christopher Ashley's desperately meta direction and bathed in Alan Menken and Glenn Slater's generic score, "Leap of Faith" needs its own miracle.
David Auburn’s “The Columnist,” from Manhattan Theatre Club, offers a fascinating portrait of political writer Joseph Alsop. Star John Lithgow is riveting.
Helmer Emily Mann and stars Nicole Ari Parker and Blair Underwood treat Tennessee Williams' masterwork as soap opera and sitcom, with embarrassing results.
"Clybourne Park," Bruce Norris' era-spanning satire on race, comes to Broadway with its original cast intact and a Pulitzer Prize, but it's still weak tea.
Unfinished at his death, Tennessee Williams' "In Masks Outrageous and Austere" gets a fevered multimedia production starring a memorable Shirley Knight.
Amy Herzog’s “4000 Miles,” now at Lincoln Center’s Mitzi E. Newhouse Theater after debuting last June at the Duke on 42nd Street, is a quiet triumph.
In Michael Wilson's crackling take on "Gore Vidal's The Best Man," Eric McCormack, John Larroquette, James Earl Jones, Angela Lansbury, and more are tops.
Disney’s stage version of its 1992 flop musical, “Newsies,” despite a few flaws, is a galvanizing hit, with a star-making performance from Jeremy Jordan and catchy Alan M…
Rodgers and Hammerstein’s 1955 musical flop, “Pipe Dream,” gets a bang-up Encores! presentation, starring Leslie Uggams, that highlights its lovely and engagingly quirky …
Matt Charman’s gerrymandered drama-with-a-big-secret, “Regrets,” from Manhattan Theatre Club at City Center, is a bad end to a lousy season for the company.
The New York Philharmonic's one-night salute to songwriter Frank Loesser, featuring a starry cast including Bryn Terfel and Victoria Clark, is sensational.
Neil Simon’s Pulitzer and Tony winner, “Lost in Yonkers,” holds up nicely after 20 years, even in director Jenn Thompson’s underpowered production for TACT.
With “The Big Meal,” at Playwrights Horizons, Dan LeFranc has written the kind of play that every critic hopes to encounter whenever a curtain rises. Go.
The gallant Jen Danby is giving a persuasive account of English star Vivien Leigh against greater odds than a more generous universe would have allowed.
Director Mike Nichols makes a serious casting error in Arthur Miller’s “Death of a Salesman,” constricting Philip Seymour Hoffman’s thoughtful Willy Loman.
Metropolitan Playhouse's production of Arnaud d'Usseau and James Gow's hit 1945 drama about racial bigotry, "Deep Are the Roots," is a corker.
Tennessee Williams' 1969 one-act drama "In the Bar of a Tokyo Hotel" is in good hands in actor-directors Charles Schick and Regina Bartkoff's production.
Signature Theatre has rescued Edward Albee's once-dismissed "The Lady From Dubuque." Starring Jane Alexander, it's a sure and stunning blow to the heart.
UnsungMusicalsCo.'s attempt to resuscitate Richard Lewine and Arnold B. Horwitt's 1948 hit musical revue, "Make Mine Manhattan," is at best painless.
What a pleasure to encounter Nina Raine's distinctive comedy-drama "Tribes," directed authoritatively by David Cromer, at the cozy Barrow Street Theatre.
MCC Theater's reworking of the infamous flop Broadway musical version of Stephen King's "Carrie" recoils too far from the original over-the-top production.
Mint Theater Company is doing a bang-up job with Githa Sowerby's flinty 1912 drama "Rutherford & Son," which is notable for its feminist perspective.
Colman Domingo and Scott Shepard give superb performances in Athol Fugard's "Blood Knot" at Signature Theatre's new Frank Gehry–designed Pershing Center.
Gabe McKinley's thinly veiled fictionalization of the 2003 Jayson Blair journalism scandal rarely dips beneath the surface, playing more like an extended TV-drama episode than a thoughtful…
