66 stories by "Jason Fitzgerald"
Despite a provocative premise and a first-rate cast, this new musical's clichéd story and forgettable music keep the memory of the Moulin Rouge at an unfortunate distance.
"Cyclops," a concert adaptation of a little-known Euripides play, rocks and rolls and in the tradition of the best rock operas, but, lacking motivation, it never fully ignites.
This true-life ghost story of a lost modernist heroine is a set piece for the aged but fiery Ruth Maleczech, whose performance is not to be missed.
Susana Cook's new play is a nonsensical, childish mess that tries to be a critique of right-wing Christianity but only manages to bore and exasperate.
This provocative interactive theater event walks a fine line between utopian sincerity and liberal critique as it makes audiences audition for a place in a supposed democratic utopia.
Director Amon Miyamoto adapts a Kafkaesque Japanese psychodrama for his newest production, serving up an occasionally earnest but terribly beautiful, epic, and unsettling theatrical feast.
The Assembly's ensemble-devised work is a familiar celebration of 1970s activism, but for an occasionally inspiring visit to an important moment in liberal history, this production is toug…
Yael Farber's South African version of "The Oresteia" is visually and musically thrilling, but her take on the Greek myth dilutes the story's dramatic power and political heft.
Václav Havel's porcine parable, a combination media circus, rural operetta, and political critique, may be one of the more playfully rewarding offerings of New York's summer season.
Baba Brinkman's playful and imaginative romp through Darwin and modern culture is a great idea delightfully staged, but its mishmash of themes and arguments overwhelms as much as it clarif…
Holly Hughes is as eloquent and sophisticated as ever as she traces the contradictions among her life, her passions, and her puppies in a poignant and endearing new solo show.
This musical homage to spectacular mediocrity, staged in a gallery installation, is a visual achievement, but the script is dramatically disappointing and the songs forgettable.
Target Margin Theater takes on "The Tempest," giving it a whimsical makeover and forgetting its heart.
This controversial show may contain a damning takedown of the Catholic Church, but it is the man—and the performance—at its center that shines most brightly.
John Kelly combines performance art with the baroque in this stirring exploration of the limits of an artist's life centering on Caravaggio.
Only Young Jean Lee's perverse imagination could turn a song called "I'm Gonna Die" into a rousing sing-along anthem—and get away with it.
