278 stories by "Erik Haagensen"
Despite a top director, a talented cast, and a Pulitzer Prize–winning script, this new production of Paula Vogel's 1997 drama never slips satisfyingly into gear.
Author-composer Eric Shorr's artistic reach falls considerably short of his grasp in this thinly written, musically derivative, and ultimately dramatically preposterous new culture-clash m…
Adapter-director James Lapine's brilliant staging of this formerly problematic musical is quite simply one of the finest evenings of musical theater I have encountered. This "Merrily" is m…
Director Elizabeth Lucas has tried to turn Adam Guettel's 1998 song cycle into a musical by adding a narrative, but her ambitious and undeniably inventive attempt is not theatrically satis…
Marius von Mayenburg's sharp satire on the nature of identity and the inescapable human bent for conformity is a wicked piece of japery that elegantly makes its points in one breezy hour.
John Osborne's 1956 play, with its famous angry-young-man protagonist, is unquestionably a landmark work, having upended the dominance of genteel English drawing-room drama. That doesn't n…
John Osborne's 1956 play, with its famous angry-young-man protagonist, is unquestionably a landmark work, having upended the dominance of genteel English drawing-room drama. That doesn't n…
David Sisco's genial divertissement about two 30-something gay friends in Manhattan is both an acting showcase and a fun night out that even manages some unexpected poignancy and depth.
Under Pedro Pascal's studied, overly deliberate direction, Daniel Talbott's opaque play keeps its audience at such arm's length that we finally throw ours up in exasperation.
The celebrated English pop singer and actor is making her first NYC nightclub appearance since 1970. Still in superb physical and vocal shape, she delivers an unmissable evening of great s…
Darlene Craviotto's 1982 play is a preposterous concoction, so synthetic and phony that it makes "Three's Company" look like Molière, and Joan Kane's blaring direction doesn't mitigat…
Despite sterling performances from Carla Gugino, Jim Dale, and the luminous Rosemary Harris, Athol Fugard's 1984 drama has trouble punching its way across the footlights in the too-large A…
This romanticized, politically correct revision of George Gershwin's landmark opera attempts to turn it into a Broadway musical but only succeeds in significantly cheapening it.
This romanticized, politically correct revision of George Gershwin's landmark opera attempts to turn it into a Broadway musical but only succeeds in significantly cheapening it.
This avant-garde musical criticizing American capitalism comes into town trailing European praise and awards, but it's an awfully obvious and naive work that's no match for the voraciousne…
Catherine Trieschmann's new three-person drama hides behind a smokescreen of talk about the conflict between science and religion and suffers from blankly written characters far too remini…
Though perfectly professional and generally well acted, Grant James Varjas' new play brings nothing new to either of the genres it occupies: the alcohol-soaked-group-in-a-bar drama and the…
Two fine actors bailing as hard as they can aren't able to keep Robert Farquhar's awkward two-hander, detailing a disastrous weekend fling, from sinking with all hands on board.
Robert Brustein's 1994 musical adaptation of a 1974 Isaac Bashevis Singer play could be shorter and tighter, but it's still a quiet charmer well-suited to the holiday season.
This largely charming and touching 70-minute two-person stage adaptation of Michael Morpurgo's sequel to "War Horse" nevertheless doesn't transcend its origins as a children's novel.
Director Michael Mayer's reconception of Alan Jay Lerner and Burton Lane's problematic 1965 musical comedy is a depressing misfire, starring a distinctly ill-at-ease Harry Connick Jr.
Lydia R. Diamond's "comedy of manners" is not a good play, but it is an entertaining one, an exuberant work that will likely prove an audience pleaser.
Alan Ayckbourn is back in top form with this dryly hilarious comedy about vigilantism led by the brilliant Alexandra Mathie, a comic goddess if ever there was one.
Marc Castle's straightforward comedy-drama about a group of gay male friends living in Manhattan from 1977 to 1987 feels like one of those interchangeable TLA Video gay indie releases.
Playwright David Adjmi gives new meaning to the term "parlor trick" with this site-specifically staged 20-minute monologue, which the slyly insinuating Zoe Caldwell delivers superbly.
